Synopsis 　　One of the few partisan units left in Mt. Jiri after the signing of the Armistice, the unit led by a captain nicknamed "Agari" (meaning "mouth" in Korean) commits all manner of atrocities. Cheol-su(Kim Jin-kyu), who has started to grow disillusioned with the communist ideology, is troubled by the romantic feelings professed by an ideologically devout and cool-headed female comrade named Ae-ran (Lee Ye-chun). One day, another female partisan soldier named So-ju, who had been transferred to another unit, finds her way back to Piagol with a bullet wound in her shoulder. Man-su (Heo Jang-kang) rapes the injured So-ju, who dies under his assault. In order to cover up his crime, he murders his fellow soldiers, frames Dal-su for the rape, and kills him. Once the extermination of guerillas in Mt. Jiri begins, all the partisan soldiers face imminent death. Disgusted by partisan life, Ae-ran and Cheol-su discuss defection, but are discovered in the act by Agari. Cheol-su and Agari get into a fight, and Cheol-su is killed. In the end, Ae-ran kills Agari and descends the mountain alone. 　　Notes 　　"The first movie to be banned for violating the Anti-Communist Act, due to its humane portrayal of North Korean partisan soldiers." 　　Piagol, which served as the cinematic model for anti-communist humanism, depicts each of its characters, either in main or supporting roles, with vital detail. What makes Piagol at once unique and problematic as an anti-communist film is the fact that no South Korean soldier or police officer ever makes an appearance; it only features North Korean partisan soldiers. Unlike the guerilla fighters in newspapers and documentary films, who were portrayed as anonymous villains and cold-blooded killers, Piagolendowed partisan soldiers with distinctive personalities, and each unique character encounters human conflicts caused by his or her desires. The media and the government banned the film from being screened on the charge of violating the Anti-Communist Act, censuring its excessively "realistic" and human depiction of North Korean soldiers. (Critic Lee Young-il, author of The History of Korean Cinema [Hanguk yeonghwa jeonsa], cited this very fact as his basis for dubbing this film as an example of realistic anti-communist humanism and praising its artistic achievement.) Because the audience at the time held only vague ideas about the difference between dramatic films and documentary filmsi.e. between fiction and factand because anti-communism was deemed more than a simple ideology but a matter of survival, Piagol's realistic depictions might well have been considered threatening. 　　Indeed, one of the most prominent characters in the film, partisan leader Agari (Lee Ye-chun), is a good case in point. Although he is portrayed as a brutal villain throughout, a nightmare sequence conveyed through an intricate montage sequence endows him with internal conflict and feelings of guilt regarding his own cruelty and violence. Further, the expression of his obsessive devotion to ideology, which he is unable to abandon even at the end, elicits a measure of sympathy from the audience. Most of all, the character of Ae-ran (No Kyeong-hee), a capable and decisive female leader who shows rigorous dedication to the communist cause until the latter half of the movie, is represented in a considerably attractive light. Honest about her feelings and desires, and more capable than anyone else, Ae-ran exemplifies the image of an active woman even from our contemporary perspective. 　　Afterword: 　　- Piagol's initial screening license was revoked because of an anti-communist controversy, but the film received permission to re-screen thereafter. 　　- As shooting took place in Mt. Jiri soon after the Armistice was signed, when remnants of partisan bands were still hiding out on the mountain, the staff and cast testified to having actually felt a sense of danger during filming.

仙界，神仙与人类所居住的那个世界迎来了毁灭的危机。掌握改变世界关键的正是寻找着凶神・四凶的歌士一叶与其使役神滇红。两人隐瞒着各自的目的寻找着四凶。倍受束缚的家族与其失去的过去，为了取回重要之物，一叶与滇红将走遍世界。以长年广受阅读的高山忍的人气漫画为题材所改编，描写歌士一叶与其使役神滇红的战斗的奇幻动作片！倍受束缚的家族与其失去的过去。为了取回重要之物，歌士一叶与其使役神滇红的战斗即将展开！

曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。

曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。

每天渾噩渡日的大學生老馬、小七與冠廷，看著身邊的同學們都開始稍有成就，而他們的人生卻依然停滯不前。到底什麼才能替三人散漫且平淡的生活激起漣漪呢？本片引「白天睡覺晚上活動」之模式，一窺當代年輕人所面臨的困境和消極態度。

这部影片是为一次名为 “Fleur Power” 的场地特定放映而制作的，该活动由梅琳达·斯通（Melinda Stone）创办。她在山坡上种植了一块由香雪球（又称“雪毯”）组成的银幕，并邀请艺术家们为这场一次性的活动创作作品。这部短片试图替代她为建造银幕而拔除的草，同时也在探索尺度与时间的概念。

剧根据墨宝非宝原著小说《一生一世美人骨》古代篇改编，讲述了北魏时期，当朝异姓王爷，坐拥数十万大军的小南辰王与清河漼氏正支唯一独女，未来的太子妃…

這是所有洛伊安德森影迷非看不可的紀錄片！他的拍片手法在現今數位化的時代裡，大概很難再找出第二人：沒有劇本、一鏡一景、幾乎所有場景皆室內搭景，耗費大量時間與金錢的創作過程。記錄《啊！人生》長達近四年的拍攝經歷，看導演如何從創意發想到募資、日復一日與工作團隊創意激盪，宛如魔法般打造出一幕幕如夢場景。

It was filmed in rural Russia, near the city of Smolensk. It shows a small village, where all young people are gone and only older people are left. There is shortage of basic material necessities, but at the same time they are in possession of the simple, but most important core values and elements of life: their Village, Time, Friends and Family, Children, Wedding, Thunderstorm, Morning, Conversation, Happiness, Death, Sun, Winter, and Love.

由4个短篇《Life》《h》《Ya》《No Where》构成。 　　田辺誠一監督コメント 　　「19歳の時に見た、ニューヨークのインディペンデント・ショートフィルムに感動し、それを超える映画が作りたくて、15年前から映画制作を始めました。短編は長編とは全く意味の違う時間の構成の面白さがあります。今回の映画は10 年くらい前から脚本を書いていたものですが、自分の中では、やっと15年前に見たあの映画に匹敵するモノができたのではと思っています。今回完成した作品を見て、今の時 代、今の時期に世に出る作品なんだと感じました。世界が大きく変わっている中で、何か新しい、暖かい風が吹けば。是非、その世界に浸っていた だければ幸いです。」