佐野和官田是儿时好友，他们一同在面朝太平洋的度假酒店旅行。宫田痴迷于阴谋论，并试图说服佐野相信他的想法，但佐野并不认同，因此两人发生了争执。宫田的电话整天响个不停，佐野失去耐心，接了电话。电话是宫田的父亲打来的，他说话含糊不清，似乎是因为痴呆症。佐野困惑地挂断电话，并试图和宫田一起回家，但令宫田不解的现象接二连三地出现…

Sano and Miyata, two childhood friends, are on a trip together in a resort hotel facing the Pacific Ocean. Miyata is devoted to conspiracy theories and he tries to get Sano to believe this idea. But Sano doesn't believe it, and they fight. As Miyata's phone keeps ringing all day, Sano loses patience and takes the call. It was a phone call from Miyata's father, who was saying unintelligible things, probably from dementia. Sano hangs up the phone in confusion and tries to go home with Miyata.

国禾电影事业股份有限公司出品

淡水河是漸漸地浮華來的，人心也是。前仆後繼地追尋著理想的人們，紛紛後繼仆地妥協了。 　　小月在現實的河流裡掙扎著堅持，尋訪同樣堅持理想的同族類足跡，承擔著愛人與朋友的背離，她心中的理想國，只能往虛構裡求…… 　　陳建一，暢銷作家吳青美的昔日戀人，為尋找心中的烏托邦，他依河而居，直接回到原點，過著人類原始社會中以物易物，共生共享的生活。 　　青美選擇了追求她的浮華人生而離去，卻不斷縈繞著過去的記憶，探索著那兒都到不了的心靈途徑。 　　淡水河同時承載了他們兩人的生命，卻有不同的面貌與質素……。就在現實與幻影的交相傾軋中，小月隱隱地窺見一條通向理想國的航道。 　　淡水河繼續浮華，奔流向海，而在她浮華的河面上，也總有這麼一葉小舟，堅持著逆河而上，尋找，人類最原始的棲息之地。

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.