一个星期六的早晨，王善与刘宣因为一件重要的东西不见而大吵一架。故事逐渐揭开的是看似没有问题的关系下，各自的真实面貌。

澪（黑川芽以 饰）是班上的头头，在她的带领下，一帮女生以欺负性格懦弱的玛利亚（美波 饰）为乐。老师和同学们都知道澪的不端行径，但他们共同选择了沉默。班上来了一位名叫麻绮（泽尻英龙华 饰）的转学生，初来乍到，麻绮便展现出了独特的领袖气质和个人魅力，随着时间的推移，她逐渐取代了澪的位置，而澪则沦为了被欺负的对象。 　　陷入绝望之中的澪想在天台结束自己的生命，没想到却是玛利亚出现并挽救了她，与此同时，麻绮向澪表达了她的歉意，天真的澪以为麻绮良心发现，之后才知道，麻绮不过是想要和她联手，寻找新的欺负对象。愤怒的澪教训了麻绮，夺回了自己的地位，然而，故事却并没有结束。

澪（黑川芽以 饰）是班上的头头，在她的带领下，一帮女生以欺负性格懦弱的玛利亚（美波 饰）为乐。老师和同学们都知道澪的不端行径，但他们共同选择了沉默。班上来了一位名叫麻绮（泽尻英龙华 饰）的转学生，初来乍到，麻绮便展现出了独特的领袖气质和个人魅力，随着时间的推移，她逐渐取代了澪的位置，而澪则沦为了被欺负的对象。 　　陷入绝望之中的澪想在天台结束自己的生命，没想到却是玛利亚出现并挽救了她，与此同时，麻绮向澪表达了她的歉意，天真的澪以为麻绮良心发现，之后才知道，麻绮不过是想要和她联手，寻找新的欺负对象。愤怒的澪教训了麻绮，夺回了自己的地位，然而，故事却并没有结束。

玛雅，一位女同艺术家，遇见并疯狂地爱上了一位女孩：性感时尚达人贾思敏。童话般的爱情就此展开，直到玛雅发现贾思敏的与一个秘密的糖爸爸的恋情

道強中學的教育政策是升學至上，偏偏張良材(庹宗華飾)學的是體育，因此被派到龍蛇雜處的305班當導師，且受許 多不平等待遇，透過校工，他們看到老師的一些問題...

出生在一个被黑手党控制的小城里，一名愤怒的年轻女子决意向拆散和囚禁她家人的邪恶力量复仇。

钟灿（金柱赫 饰）和妻子妍红（孙艺珍 饰）结婚多年，膝下有一可爱的女儿，两人男才女貌，在外人眼中是如同神仙眷侣一般的存在。钟灿涉足政坛，事业小有成就，同僚们都知道，他将有极大的可能成为下一任的国会议员。 　　某一日，厄运降临到了这个幸福的家庭之中，女儿无故失踪下落不明，留下难以解释的模糊线索，令警方毫无头绪。让妍红感到不可思议的是，对于女儿的失踪，钟灿似乎并没有那么焦急，他脑中所想的，只有如何在下一场竞选中取得胜利，夫妻两人之间的感情因此而产生裂痕。无奈之下，妍红只得强打起精神，她知道，女儿所能依靠的只有自己。

一名受人尊敬的主播（高庚杓 饰）突然在播报时失去自我约束力，此举吸引了一名电视台编剧（姜汉娜 饰）的注意，并邀请他上自己的综艺节目。

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.

The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.