這一天，阿嬋家雞舍的圍籬被風吹垮，雞群四處逃散。然而，60 多歲的阿嬋和 80 多歲的母親有更緊急的事要處理。她們抱著心愛貓咪小乖的遺體，在教會緬甸志工的幫助下，從高雄鄉村趕往市區動物保護處，準備為小乖火化。抵達後卻發現只能進行集體火化，無法帶回骨灰。三人心急如焚，希望能為貓咪小乖找到最好的善終安排。

在城市一隅的侦探事务所工作的玲奈，因缘际会接到了一个要调查某出租车司机的委托。本以为这只是个适合带着新人佐藤练手的无聊案子，没想到竟与女高中生失踪事件有关...

A Raiz do Coração (A Root of the Heart) is a Portuguese film set in the Lisbon during the festivities of Saint Anthony, the patron saint of lovers and the old town. The story is about Cato, a nationalist politician who is charismatic and unscrupulous. He obsessively pursues Silvia, a mystical and mysterious young transvestite whom he meets at the festival. When Silvia runs into Vicente, a policeman who arrests transvestites and threatens them, Silvia must look towards blackmail to save herself. Compromising photos of Cato start to emerge among opposition parties and he must do all in his power to save his political career.

这是一部关于随着一次年轻妇女的性唤醒，到处追求她理想的恋人的旅途中，期间偶遇一位阿拉伯回教族长和西班牙斗牛士，最终在她的朋友和男管家伴帮助下终成眷属的故事。

这是一部关于随着一次年轻妇女的性唤醒，到处追求她理想的恋人的旅途中，期间偶遇一位阿拉伯回教族长和西班牙斗牛士，最终在她的朋友和男管家伴帮助下终成眷属的故事。

以東方武術為主題的《暴力醒思》， 　　身為東方人的waye當然對於其中的內容呈現有自己的想法，waye的結論是：只要是透過鏡頭的再呈現，就一定會有觀點，這世界沒有忠實呈現真實這回事，就算是當事人也一樣，我們必須要有的是判斷接受哪一種觀點的決斷力而已

以東方武術為主題的《暴力醒思》， 　　身為東方人的waye當然對於其中的內容呈現有自己的想法，waye的結論是：只要是透過鏡頭的再呈現，就一定會有觀點，這世界沒有忠實呈現真實這回事，就算是當事人也一樣，我們必須要有的是判斷接受哪一種觀點的決斷力而已

一位年轻的法国中学教师Nathan Fabre前往德国旅游，途中在布痕瓦尔德集中营纪念博物馆发现了一张令他惊奇万分的老照片。照片中有一位当年集中营关押的犹太人，长相与Nathan的父亲——Adrien年轻时几乎一模一样。Nathan回到法国后，这张照片不断在他脑海中出现，而他的父亲却对照片一事守口如瓶，表示一无所知。因此Nathan决定自己去探寻家族老一代人的秘密。而他得到的真相，最终改变了Nathan的整个世界与人生……

朱勇常被上級欺負，卻一直保護著剛入伍的菲力。外宿當天，上級想找出告發自己的下屬，最後懷疑到朱勇和菲力身上，並開始毆打他們。始終默默承受的朱勇和菲力，沒有開口供出告發者，直到菲力的牙齒遭打斷，上級才停止施暴。為了救回菲力的牙齒，朱勇帶著他去找牙醫姐夫，沒想到更大的噩夢在等著他們…

The film opens with Seoul’s “Freedom Center,” a formidable brutalist building that has become synonymous with South Korea’s anti-communist regime. Though largely abandoned today, its influence still endures. In democratic Korea, the civil war has morphed into a war of images, one that has forged an impregnable, unambiguous reality for its people. In this lyrical, insightful, and skillfully-edited essay, Kim Mooyoung analyzes a wealth of visual materials, intercutting newsreel footage with surprising, at times poignant, and often utterly absurd excerpts from South Korea’s distinguished film history, exposing the chasm between history and propaganda, and revealing how echoes of the past have been meticulously preserved and replicated in South Korea’s present. Accompanied by captivating commentary, all these elements fit together harmoniously, leaving us both astonished and unsettled by ideology’s terrifying ability to hit hardest when veiled.