青春期的小美长时间遭受家庭暴力，心理受到极大创伤，看似每天平静的生活，父女二人却各自心怀秘密。为了引起父亲的注意，小美决定偷走他的秘密…...

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other. (source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

Both an homage and a new look to the old style anthology films. Five different films, five different styles.

父亲弄丢宠物狗乐乐之后，女儿在原本用来监看乐乐的监控里，切片式地参与了父母的生活。

刚踏入新居的妻子徐曼怀孕了，这让她本就不适的婚后生活更加难以自如，对生育的恐慌与丈夫的不理解也形成了难以调和的冲突。徐曼决定不要孩子，并对突然到访的婆婆保守秘密。

方寸池塘的一滴水珠中，暗藏着微观又恢弘的别样天地。水珠翻涌、碎裂之间，这个迷你世界里不断上演着诞生、消亡、情爱与追逐等生命百态。影片以极具实验性的多元材质置换定格与二维动画设计，展现出水下的奇幻秘境。

我尝试用生物显微镜的方法观察面前的城市。

剧本改编自同名小说，以幽默诙谐手法讲述隶属不同政党的两个男女在全国人民的监视下，偷摸展开恋情的故事。绿色进步党女议员卢敏英（李珉廷饰）作为只有两名议员的进步党主席，果断的言辞和行为总是引发祸端，但开朗正面的性格，能将大家变成自己人。在国会进步党与保守派大韩国党展开较量的过程中，偶然机会与大韩国党的议员金洙英（申河均饰）发生纠葛进而展开秘密恋情。

At 38, Thomas is at a crossroads in his life. His parents are nonstop guilt-inducers, his ex-wife is always on his back, and his son is far from inspirational. Thomas himself is almost too intellectual to survive daily life. The attentions of a straightforward English teacher seem to be a way out.