This is a part of an omnibus film called Pribitie Poezda (Arrival of a Train) made by several Russian directors, as an homage to brothers Lumiere on the 100th anniversary of cinematography. 　　One of the three films that comprise Arrival of a Train, a collection of shorts made to celebrate the centenary of cinema. Set at the turn of the 20th century, the film follows Trofim, a Russian peasant jealous of his wife for having an affair with his brother. Trofim kills his brother and runs away to St. Petersburg. Then Trofim steps off the train in St. Petersburg, a cameraman who happens to be shooting on the platform captures his arrival.

This is a part of an omnibus film called Pribitie Poezda (Arrival of a Train) made by several Russian directors, as an homage to brothers Lumiere on the 100th anniversary of cinematography. 　　One of the three films that comprise Arrival of a Train, a collection of shorts made to celebrate the centenary of cinema. Set at the turn of the 20th century, the film follows Trofim, a Russian peasant jealous of his wife for having an affair with his brother. Trofim kills his brother and runs away to St. Petersburg. Then Trofim steps off the train in St. Petersburg, a cameraman who happens to be shooting on the platform captures his arrival.

Although by no means a conventional narrative, and certainly a film inspired by the avant-garde’s simultaneous engagement with formal abstraction and material energy, L’Arrivée also engages with the history and form of narrative cinema. Certainly, its role in that relation is a critical one, revealing both the mechanism and the material that commercial cinema strives to conceal. But while engaged in a process of deconstruction, L’Arrivée also recognizes the power of cinema, utilizing its control over space, and in this film especially, time, in order to uncover the energies of motion and story, of the violence inherent in both revolt and containment. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14622

Although by no means a conventional narrative, and certainly a film inspired by the avant-garde’s simultaneous engagement with formal abstraction and material energy, L’Arrivée also engages with the history and form of narrative cinema. Certainly, its role in that relation is a critical one, revealing both the mechanism and the material that commercial cinema strives to conceal. But while engaged in a process of deconstruction, L’Arrivée also recognizes the power of cinema, utilizing its control over space, and in this film especially, time, in order to uncover the energies of motion and story, of the violence inherent in both revolt and containment. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14622

离结婚还有一个月的文浩和善英在去父母家的途中把车停在了休息所。文浩去买咖啡的时候，善英接了一通电话后急忙跑出去，等文浩回来看到的是被打开的车门…

某个下雨的日子，经营宠物医院的张文浩（李善均 饰）带着还有一个月就要与之共赴婚姻殿堂的姜善瑛（金敏喜 饰）前往老家看望父母。途中文浩下车购物，而善瑛在接了一通电话之后便从男友身边神秘失踪。焦急的文浩四处寻找，结果却发现一桩桩令他难以置信的事实。善瑛曾于2007年债台高筑宣布破产，而当年的照片与他失踪的未婚妻竟完全是两个人。这个失踪的女人真身为何？她的背后又隐藏怎样的秘密和故事呢？ 　　本片根据日本作家宫部美雪的同名原著改编，“火车”来自佛教用语，指载着作恶亡灵前往地狱的冒火的车子。《观无量寿经》云：“人以恶应堕恶道，命欲终时，地狱众火俱至，必有火车来迎。”

《Train》讲述在杀人事件发生之夜，因瞬间的选择而分裂的两个世界中，为了保护珍贵的人而介入连环杀人的刑警的平行世界的悬疑电视剧。

讲述男主心爱的女人被连环杀人魔害死后，男主到她生活的平行宇宙里守护她的故事。