A global examination of state-sanctioned violence through policing, exploring how power structures meant to protect citizens can transform into systems of control, particularly affecting marginalized communities.

"除夕夜，张招娣带着襁褓中的女儿逃回娘家，欲要逃离家暴的丈夫，无奈奶奶带着家人赶到，将张招娣打成重伤，抢走女儿。 新年来临之际，张家人在屋内阖家团圆、迎接新年，张招娣躺在雪地中奄奄一息。 如果有来生，张招娣发誓，再也不会当一只任人宰割的羔羊。 新年钟声响起，张招娣死去，再一睁眼，她回到了五年前……"

绝症富豪递上千亿资产求生，换来的却是一纸抽干灵魂的离岸信托。律师宗越以完美契约将凡人因果做成坏账，用索赔单合法封印地狱恶犬。面对西方神明摧毁金融街的暴力反扑，这场东方地府主导的破产清算听证会敲响了法槌。

绝症富豪递上千亿资产求生，换来的却是一纸抽干灵魂的离岸信托。律师宗越以完美契约将凡人因果做成坏账，用索赔单合法封印地狱恶犬。面对西方神明摧毁金融街的暴力反扑，这场东方地府主导的破产清算听证会敲响了法槌。

秦风，秦家弃少，黎家赘婿，不仅生活惨淡，还每日被同父异母的弟弟秦舟以寻乐为借口——欺负殴打，伤伤累累。就在秦风觉得生活无望时，捡到了一本名为生死簿的奇书。这本书可以将书主写的愿望一一实现。就此秦风的人生开始逆袭，也终于有了与杀母凶手秦舟对抗的底气。但凡事都有代价，生死簿上寄宿着位名叫陆判的阎罗殿死神，他表示使用生死簿的能力需要付出寿命等作为代价。而更令秦风惊异的是，这个陆判的最终目的，可能是他的身体！

青年作家于牧与当警察的妻子李佳因感情不和，离婚后只身到海口当了出租车司机，在海口于牧结识海天大厦董事长陈一帆并成为好朋友。一起贷款诈骗案牵连到陈一帆身上，而李佳被派往海口侦破案情。原来，陈一帆被黑社会陷害使三千万国有资金流失，陈一帆的女友是于牧的初恋情人，也被牵连其中。一次出车时，于牧救了做舞女的方鱼儿，俩人产生感情，一起复杂的感情纠葛由此发生，李在调查过程中发现陈一帆是重大嫌疑人，决定逮捕他。 陈一帆无奈只有逃避，这时，黑社会也四处追查陈，妄图杀人灭口，黑社会决定抓陈的女友及方鱼儿，以迫陈就范：一起惊心动魂的生死较量激烈展开……

France/Korea, 2005 (Film on Film) 影片從一九○五年日本殖民時期開始說起，以至政治審查及最近鬧得熱哄哄的外語片配額制度都有旁及，並請來金基德等導演大談創作環境。 MIFF has enthusiastically flown the flag for South Korean cinema, championing such diverse and mind-altering work as MIFF guests Kim Ki-duk (retrospective in 2002), Park Chan-wook (Old Boy 2004), Im Sang-soo (President’s Last Bang 2005) and Kim Jee-woon (A Bittersweet Life 2006). South Korean cinema is in the throes of a creative explosion where mavericks are encouraged and masters are venerated. But from where has this phenomenon emerged? What is the culture that has yielded this range of filmmakers? With The Nine Lives of Korean Cinema, French critic, writer and documentarian Hubert Niogret provides a broad overview but, nevertheless, an excellent entry point into this unique type of national cinema that still remains a mystery for many people. The product of a troubled social and political history, Korean cinema sports an identity that is unique in much modern film. Niogret’s documentary tells of the country’s cinematic history – the ups along with the downs – and gives further voice to the artists striving to express their concerns, fears and aspirations.

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