小豆是只一直梦想着捉弄人类的豆狸。她变身成一个少女，来到大阪这个大都市，本想捉弄一个黑发美女，却一下子就被对方看穿了！这位对沮丧的小豆毫不留情地说“回乡下去吧”的美女，自称是一个“落语家”？笑门开，福狸来。让人看了笑口常开的大正落语奇幻故事，就此开幕！

讲一只掉进陷阱的狼，用尽欺骗和威胁的手段，企图让老山羊救它。但是，老山羊从它的花言巧语和硬尾巴上认出它是一只凶恶的狼，而没有受骗

睦悟郎是个热爱动物、心地善良的青年，却总是遭遇不幸，像公司倒闭、丢失钱包等等不幸的事情一直缠绕在身边。就在为自己的不幸叹息之时，悟郎遇上一个占卜师，对方告诉他将会有幸福降临到他身上．．． 当睦悟郎回到家里，三名可爱的美少女突然出现在他面前。这三名自称为小兰、小翼与久留美的女孩告诉悟郎，她们三人是悟郎的守护天使，难道这就是占卜师所说的幸福降临吗？原来女神答应小兰三人，只要让悟郎幸福，就可以让她们选择下一位主人。为了去到前世主人的身边，三人非常落力的协助悟郎，但是却反而让悟郎变得更不幸，更因此被悟郎赶走。三人在公园反省时突然听到一首熟悉的旋律，追寻之下发现原来悟郎就是她们三人前世的主人！自此之後，守护天使陆续出现在悟郎身边，让悟郎的生活起来莫大的变化，同时也带来不少烦恼。另一方面，一股黑暗的势力正悄悄地迫近…

A young nurse begins her shift at an old city hospital. After a strange apparition one of the oldest nurse tells her that a patient, Mr. Moore, entered the hospital a few years ago. His body was completely burned after a fire. Mr. Moore was operated urgently by the doctors. But no one wanted to assist him. The pain and drugs had driven him mad - One night one of the nurses went to his room but his bed was empty. Nothing was heard from him anymore. A bell interrupts the story. The call comes from Mr. Moore's room.

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.

老人斯拉维萨（Miodrag Krstovic 饰）与女儿女婿住在一起。他的老伴已经去世，而他渐渐患上了阿茨海默综合征，记忆力不断减退。他甚至忘记了自己曾经当教授时写过的教材，而在雨夜中也会迷失回家的路。 　　斯拉维萨只有在老伴的墓碑前才显得头脑清晰，每次都表达着对逝去的伴侣的思念和对当前无奈的感受。女儿和女婿忙于工作和照顾他们自己的家庭，无法完美的顾及到老人的需求。最终，他们不得不做出决定，将老人送进养老院，那里毕竟是专业照顾老人的机构。为了降低老人摔倒的风险，养老院没有设置台阶。虽然在决定和送老人去之间有很多不舍和无奈，但这被认为是最好的选择。