A psychological dystopia that wrings existential dilemmas with Almodóvar-like elegance. 　　What does it mean to live in a society where punishment for crime is the complete deletion of your existence? Director Hatice Aşkın places a visually stunning predicament in front of the viewers, where a steep price must be paid for nine crimes – in addition to the rest of their life, the punished also have to give up the life they have already lived, their memory in the hearts of their close ones. 　　Alper is about to fulfil his dream of becoming a prosecutor. As a talented employee of the public prosecutor’s office, he has made a considerable contribution to the systematic implementation of the rule of law under which people who have been greedy, lazy, impudent or lavish or have desired, envied, hated or betrayed someone are abolished from society. 　　Alper’s moral compass is sent cartwheeling on the day when his mother is taken away due to a seemingly unnoticeable mistake, and thus an elusive part of Alper’s inner world is removed. Rule-based clarity becomes an unpredictable labyrinth traversing of which offers psychological thrills as well as deeper food for thought about the value of remembering and memories.

A woman in Paris hires a taxi driver to locate her ex-lover, father to her newborn child, who left her without leaving an address.

虽然戴维（艾曼纽勒·莫雷 Emmanuel Mouret 饰）和安妮（福德莉奇·贝尔 Frédérique Bel 饰）作为合租室友整日同居一室，但他们从未有过想要将两人的关系更进一步的打算。戴维心心念念着自己的学生茱莉亚（芳妮·瓦莱特 Fanny Valette 饰），在得知了死党的苦恋之后，安妮挺身而出，为他出谋划策。 　　通过安妮的帮助，戴维和茱莉亚相爱了，不久之后，戴维搬出了同安妮合租的屋子，开始和茱莉亚同居。同居后的生活并没有想象的美好，第三者的介入也让戴维和茱莉亚的感情产生了裂痕，最终两人分手，戴维离去。一次偶然中，戴维和安妮相遇了，后者因为负担不起高额的房租而打算搬家，就这样，安妮和戴维又称为了合租室友，但这一次，两人都感觉到，他们之间的关系发生了翻天覆地的变化。

虽然戴维（艾曼纽勒·莫雷 Emmanuel Mouret 饰）和安妮（福德莉奇·贝尔 Frédérique Bel 饰）作为合租室友整日同居一室，但他们从未有过想要将两人的关系更进一步的打算。戴维心心念念着自己的学生茱莉亚（芳妮·瓦莱特 Fanny Valette 饰），在得知了死党的苦恋之后，安妮挺身而出，为他出谋划策。 　　通过安妮的帮助，戴维和茱莉亚相爱了，不久之后，戴维搬出了同安妮合租的屋子，开始和茱莉亚同居。同居后的生活并没有想象的美好，第三者的介入也让戴维和茱莉亚的感情产生了裂痕，最终两人分手，戴维离去。一次偶然中，戴维和安妮相遇了，后者因为负担不起高额的房租而打算搬家，就这样，安妮和戴维又称为了合租室友，但这一次，两人都感觉到，他们之间的关系发生了翻天覆地的变化。

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.