汾河两岸的两个村落，因为一个女人死过人、断过亲、坐过牢。两族族长立下族规：永世不通往来，某日发生械斗后两族族长被迫以“比鼓招亲”。胜者娶新娘，败者永远离开。

本剧讲述三个特种部队的优秀军人，退伍后走上不同道路的故事。

本剧讲述三个特种部队的优秀军人，退伍后走上不同道路的故事。

本剧讲述三个特种部队的优秀军人，退伍后走上不同道路的故事。

本剧讲述三个特种部队的优秀军人，退伍后走上不同道路的故事。

根据美国棒运史上著名丑闻案改编，由约翰．塞尔斯编导，并客串演出体育记者林拉德纳一角。剧情描述芝加哥白袜队的八名球员，在一九一九年的世界杯棒球比赛中放水，藉以取金钱上的利益，而在幕后操纵整个事件的则是一群赌徒。全片以十分细致的手法追踪丑闻的来龙去脉，将美国球界的黑幕娓娓道来，加上一些精彩的棒球比赛场面，对喜欢棒球运动的观众而言具有相当高的吸引力。但作为一部剧情片，本片比较缺乏感情和剧力，因此未能发挥出这个事件应有的震撼力量。不过几位主角约翰．库萨克、迈克尔．洛克尔、查理．希恩、戴维．斯特雷泽恩等人的表演还是蛮精彩的。

《威风凛凛的她》讲述的是一个农村出身只有中学学历的未婚女李银姬（裴斗娜）打破世俗改变自己命运的喜剧电视剧。“野蛮的” 银姬和为了成功不折手段的姐姐李金姬（金有美）是电视剧的女主人公。而有点神经质、为人又很周到的美男许徐仁宇（申成佑）则是银姬和金姬两姐妹的初恋情人。另外还有一位拥有秘密钥匙的感性医生闵志勋（姜东元）。整个故事就是围绕他们的爱情和成功展开的。《威风凛凛的她》的女主人公与以往的天使型女孩不同，是那种即不善良也不优雅的“野蛮女”。想笑的时候即使在商店也会大笑，想哭的时候在别人的结婚典礼上也会哭出来的单纯无知又勇猛的女孩。 　　《野蛮少女》还有一个卖点就是两姐妹后来不同的命运。银姬和金姬是一对孪生双胞胎。一天银姬被来寻找亲孙女的财团会长找到了，从此金姬的身份变了，而银姬依然过着艰难的生活。通过两姐妹的不同命运，揭露了在生与养育之情的矛盾纠葛中孝的真正含义。同时，野蛮泼辣的银姬的成功也向观众转达了这么一个思想：真正的成功不是靠财富和权力，而是或的人心，让自己心爱的人得到幸福

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