Three project short films, "Not That", "Hear My Song", "Sad Scene", produced by fashion magazine W Korea on its 10th year anniversary with KT&G saSang Sang Madang. Producers Kang Jina, Woo Moon-gi and Shin Yeon-shick collaborated in it and so did three top actresses (Lee Mi-yeon, Lee Na-young and Krystal) as well as 3 top actors ("Baro", Ahn Jae-hong and Seo Joon-yeong.) 　　Episodes 　　"Hear My Song" (내 노래를 들어줘) 　　"Not That" (그게 아니고) 　　"Sad Scene" (슬픈 씬)

两个年轻人，一个害羞，一个自信，在巴黎度过了一个快节奏的夜晚，试图搭讪小鸡。他们面对一切可能的困难。

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

山杏是一个淳朴善良的山里姑娘，爱上了扶贫干部玉生，两人却因为现实种种而未能走到一起。之后，山杏嫁给了并不喜欢的大宝，并生下了他的孩子。日子就这样一天一天的过着，某一日，大宝患有精神病的二叔忽然现身，想要对孩子不利，大宝在冲动之下失手将二叔打死，自己亦疯了。 山杏失去了一切，还不得不照顾整日里疯疯癫癫的大宝。小木匠将不堪忍受生活折磨的山杏带往了城里，两人住在同一屋檐下，可山杏发现小木匠其实有妻儿，她被骗了。为了维持生计，山杏来到工地打工，却始终逃不过被愚弄的命运。

有情有义的男主人公，在风风雨雨的坎坷生命进程中，先后经历六个女人的情与爱，大喜与大悲，坚忍的品行操守，执著的幸福追求，在物欲泛滥的命运抗争中，谱写出人性的道德力量。故事里，齐刷刷地矗起了一个好人的群体。实际上是对回归中华传统美德的热诚呼唤，又是对自上个世纪七十年代后期以来中国农村大变革政策的热情歌颂。

山杏是一个淳朴善良的山里姑娘，爱上了扶贫干部玉生，两人却因为现实种种而未能走到一起。之后，山杏嫁给了并不喜欢的大宝，并生下了他的孩子。日子就这样一天一天的过着，某一日，大宝患有精神病的二叔忽然现身，想要对孩子不利，大宝在冲动之下失手将二叔打死，自己亦疯了。 山杏失去了一切，还不得不照顾整日里疯疯癫癫的大宝。小木匠将不堪忍受生活折磨的山杏带往了城里，两人住在同一屋檐下，可山杏发现小木匠其实有妻儿，她被骗了。为了维持生计，山杏来到工地打工，却始终逃不过被愚弄的命运。

艺术品收藏家艾德琳（帕特里克·波查 饰）来到朋友丹尼尔（Daniel Pommereulle 饰）的海边别墅度假，在这里，他遇见了漂亮的女孩海蒂（哈蒂·波丽托弗 饰）。丹尼尔告诉艾德琳，海蒂是个生活作风颇为开放的女孩，有许多个风格迥异的男友，艾德琳和朋友在背后戏称她为“收集男人的女人”。艾德琳崇尚健康、自然、克制的生活方式，这样的他自然瞧不起海蒂的放浪形骸，但同时，他发现自己又总是不经意的注意着海蒂，这个女孩的一举一动能够轻易的牵动他的情绪，并且，海蒂似乎对自己也心怀好感。没想到，海蒂选择的居然是自己的好友丹尼尔，这让艾德琳心里很不是滋味，他离开别墅回归到自己的生活，却仍然和海蒂保持着藕断丝连的关系。在法国这个热情浪漫的城市里，一对男女对待感情兜兜转转遮遮掩掩。

影片改编自詹姆斯·卡农的畅销小说《小镇上的寡妇们》（Tales From the Town of Widows），讲述了一群以艾娃·朗格利亚·帕克为首的生活在拉美小山村的女人，当男人们都去参加卫国战争的时候，她们只能靠自己支撑起整个的家，而当男人们从战场上返回后，女人们拒绝退居二线。这时一场关于“家庭权力”的战争开始打响了。