The film is set in a small town where two modest couples find themselves caught up in a game of life & death with a vicious gang after the discovery of a mysterious box buried long ago.

栗阳国，乔九因丢失栗银被送上了断头台。现代乔九与未婚夫江曳枫争论剧情无果后，乔九决定自己改写小说，于是两人开始正式斗笔。周郡王，慕白快马赶回栗阳城，要军饷，企图乘胜收复长平城。皇上用苦肉计让周郡王答应了娶乔九。周郡王来替乔九求情，皇上通过与乔府联姻的方式获取军饷。周郡王也立誓，要带着慕白百日内查清栗银案。周郡王劫法场，救下乔九。周郡王带着慕白上门提亲。

小说中乔九押送军时被二皇子周慕白和代双派人劫走军饱，江曳枫为了保住乔九的性命与其成亲，却被代双陷害导致二人被关入大牢。二人靠智慧化解危机，携手调查真相。调查过程中江曳枫为了救乔九被二皇子周慕白刺杀。两人回归现实生活，江曳枫意识到自己的错误向乔九求婚。

Klein filmed the meetings, barricades, debates, lectures, and the occupations in universities during May 1968.

钦天监罪臣之子根据父亲留下的笔记线索，携手擅长医术的九公主，揭开巫蛊作祟、雷公显灵、天崩地裂的奇案秘术，发现幕后真相竟指向神秘天书“双鱼祸国”的预言。

钦天监遗孤顾与卿，因破获连环蛊毒命案，被卷入一场横跨南滇与雷城的惊天阴谋。追查途中，他与偷跑出宫的九公主李令月携手缉凶，却意外揭开“双鱼组织”谋反复国的惊天密谋，两人在查案的过程中彼此信任、互生情愫。然而，当真相逼近，顾与卿惊觉父亲之死的真相指向皇宫深处。至亲成仇，挚爱难舍，他陷入亲情与爱情的撕裂中。一场关乎家国命数的较量悄然展开，爱与信念的抉择，将决定天下归属。

Dust, starring Alan Rickman and Jodie Whittaker, is the short story of a man who follows a young girl and her mum home from school one day. He waits outside their house until nightfall before breaking in. Once inside, events take an unexpected turn...

"Chiri" is the close observation of the end of the life of her foster mother, after she had turned 95. Following her mother's daily life as she lives out her time, steadily approaching death, Kawase contemplates the fundamental themes of her own film productions.

More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far. 　　源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang

More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far. 　　源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang