Two siblings are trying to cope with their brutal past, as their inner beast are leading them on a path to destruction.

拳击手曼尼（Demián Bichir 饰）长年从事激烈运动，身体接近崩溃边缘，而这样一个小人物却引起天堂和地狱的关注。濒临倒闭的天堂公司接到曼尼母亲的祷告，同时也为改善天堂的经营状况，于是派出拥有美丽歌喉的天使劳拉（Victoria Abril 饰）降入人间，假扮成曼尼的女友，以规劝其放弃拳击。 　　而另一方面，地狱方面也出于自己的目的，派出性感妖艳的魔鬼天使卡门（Penélope Cruz佩内洛普•克鲁兹 饰），扮作曼尼的表妹来鼓励他继续拳击…… 　　本片荣获2002年西班牙影评人协会奖最佳配乐奖。

浩瀚的宇宙深处，某座星球的空间站内，身着橙色运动服的宇航员们在科学家的监督下进行艰苦训练。跑步、游泳、深蹲、仰卧起坐、失重训练、按时就餐。日复一日，年复一年，这些大男人不知何时能接到出发的命令，只能尽可能地在枯燥的生活中挖掘乐趣。或许只有到了夜幕降临，在临睡前的一刻才能找到些许闲暇玩乐一番，当然突如其来的意外又让这份快乐戛然而止。宇航飞船的组建工作趋近尾声，表现最优的两位宇航员1203和1204最终分别被确认为此次行动的最佳人选和替补队员。 　　出发的那一天，两位好友尽量轻松地向彼此告别。飞船起飞，1204真诚地为好友鼓掌。可就在此时，意外突然发生……

浩瀚的宇宙深处，某座星球的空间站内，身着橙色运动服的宇航员们在科学家的监督下进行艰苦训练。跑步、游泳、深蹲、仰卧起坐、失重训练、按时就餐。日复一日，年复一年，这些大男人不知何时能接到出发的命令，只能尽可能地在枯燥的生活中挖掘乐趣。或许只有到了夜幕降临，在临睡前的一刻才能找到些许闲暇玩乐一番，当然突如其来的意外又让这份快乐戛然而止。宇航飞船的组建工作趋近尾声，表现最优的两位宇航员1203和1204最终分别被确认为此次行动的最佳人选和替补队员。 　　出发的那一天，两位好友尽量轻松地向彼此告别。飞船起飞，1204真诚地为好友鼓掌。可就在此时，意外突然发生……

An examination of the ideology of Anarchism

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.

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.