“Sir, the judge told me today I was a bastard. What was my sin?” 　　Heavy snow falls from the sky as heavily-armed guards patrol the walls of an Iranian centre of correction and rehabilitation. Inside, the girls are waiting at the food counter. Among them are underage mothers and others who are married. All of them ended up here after becoming involved in crime. Drug dealing, assault, murder. Yet instead of cold-blooded criminals we discover friendly, warm young people who laugh, sing and cry together. Their close bonds have been forged by the troubled past they share. We learn of their fears of having to return to the lives they once left behind. The documental camera is intimate but respectful, the resulting portraits are full of dignity. Written by Berlinale 2016

Simon's life is troubled by images of a crime which happened in his family a hundred years ago. While traveling in south France, he finds the landscape familiar. That's when he meets Catherine and falls in love. But her lover comes back and his strong personality attracts her again.

This adventure film features a treasure hunter trying to transport a cache of gold belonging to a tribal queen from the Amazon jungle. The main focus is made on his attempt to move the heavy gold from the dangerous and exotic jungle, and this "golden rush" can cost the protagonist’s life. Golden Prize of V MIFF (1967). 　　A treasure hunter tries to transport a cache of gold belonging to a tribal queen from the Amazon jungle in this routine adventure. Customs of the local natives and the hero's life in the city are thrown in, but the main focus is his attempt to move the heavy gold from the dangerous and exotic jungle.

[芹叶大学之梦想与杀人]大学生二木未玖（仓科加奈 饰）结识了同龄男友雄大（林遣都 饰）。面对眼高手低的幼稚男友，站在人生路口的未玖被卷入黑暗漩涡的中心；[美弥谷住宅区的逃亡者]家境平平的美衣（成海璃子 饰）年纪轻轻作践自己的身体和人生，直到遇见令她感动的阳次（大东骏介 饰），可短暂梦幻的幸福过后，暴力的严冬降临；[石蕗南地区的放火] 因工作关系，大龄剩女田笙子（木村多江 饰）重逢之前约会过但决定不再见面的消防队员大林（大仓孝二 饰），似乎“阿七”的传说将在当代重演；[仁志野町的小偷] 和母亲旅行的小学教师美知留（高梨临 饰）意外重逢小学同学律子（佐津川爱美 饰），“是非分明”的童年回忆重上心头；[君本家的拐骗]好不容易生下小宝宝的良枝（广末凉子 饰）不慎在商场丢失孩子，对于一路承受了巨大压力的她来说，这不啻一个巨大的打击。 　　本片根据辻村深月的同名原作改编。

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。