未亡人・リエは仏壇の前で酒を飲みながら亡き夫・淳司との熱いセックスを回想し、火照る体を自身で慰めた。そこへ以前働いていた会社の上司・野田が訪ねてきた。今日が淳司の納骨の日と知って、リエを心配して来たのだった。野田はリエと酒を飲み交わしながら、以前からリエを想っていたことを告げた。リエは最初は拒んだものの、野田の強引さと優しさに負けその身を任せた。 翌日、リエが遺影に手を合わせていると、野田から電話が入った。野田はまた会いたがるが、リエは忘れたい思いで、距離を置こうと電話を切る。リエは先輩でやはり未亡人の美沙に野田のことを話す。リエの困惑は理解出来るが、美沙は年下のホスト・健と割り切った付き合いをしており、迷うなら野田との関係を続けろと言った。 リエは美沙の言葉で野田に電話し留守電にメッセージを残すし、数日後彼と会った。妻・さやかの存在を気にするリエに、野田は美沙と同様、自分の気持ちに素直になれと言う。酔った二人はリエの家に帰宅する。リエは野田の人生を狂わせることに恐怖を感じながらも、彼に身を委ねてゆく…。

Synopsis Having lost her husband in the Korean War and living as a refugee with her daughter Ju (Lee Seong-ju), Shin (Lee Min-ja) gets by with the help of her late husband's friend Lee Seong-jin (Shin Dong-hun). However, Lee's sense of duty toward his friend's widow soon turns into love. Sensing his feelings for Shin, Lee's wife (Park Yeong-suk) upbraids her husband in deep jealousy and hysteria, and even resorts to finding solace in the arms of a young man named Taek (Lee Taek-kyun), whom she meets by chance. The fiery affair between Taek and Lee's wife takes a different turn when Taek saves Shin's daughter Ju from drowning at the beach. Although Shin finds herself receiving romantic overtures from Lee, she falls in love instead with the savior of her daughter's life and entrusts her daughter to another family in order to move in with Taek. Unfortunately, Taek's former girlfriend Jin (Na Ae-sim), thought to have died in the war, returns and he decides to leave Shin, to her utter dismay. Already settled with Jin, Taek bids Shin farewell, but Shin, who had sought to find truth in her love life with Taek, is shocked into pointing a knife at her lover. Notes "The first and final film by Korea's original female director, Park Nam-ok, which faithfully portrays from a female perspective the desires of women after the Korean War." The Widow, by Korea's first female director, realistically portrays from a woman's perspective the actual hardships and circumstances faced by post-war widows. When her husband's death results in the loss of her livelihood, the female protagonist accepts financial assistance from her husband's friend even as she resists his romantic advances. When she falls in love with a younger man, she is true to her own desires to the extent of leaving her daughter with another family and setting up a business and a home with the money she has received from her husband's friend. Interestingly, The Widowdoes not mythologize its depiction of motherhood, opting instead to starkly represent the honest desires of women after the war. Although Shin demonstrates inner conflict between romantic and maternal love, she ultimately chooses the former. The film could be said to present its female protagonist as someone, who is shockingly true to herself, but, at the same time, it refrains from vilifying her, or depicts her in an unsympathetic light. Unlike many male directors who looked with a hypocritical, duplicitous gaze of fascination and chastisement on post-war "apres girls," Park Nam-ok's empathetic portrayal maintains a clear female perspective by showing just how difficult it was for women to survive among men while realizing their own desires. Afterword: - The surviving film stock lacks the final scene, making it difficult to ascertain the film's ending. - The Widow came under the spotlight when it was screened at the 1st Women's Film Festival in Seoul, in 1997.

24岁生日当天，芭芭拉得知丈夫战死越南，20年后，她决定拍一部关于越战的电影。在一位南越遗孀的陪同下，她走遍丈夫当年打仗的地方，藉由影像和新闻片段的交错寻问战争的本质，美、越两地的战后寡妇交相谈论战争带来的阴影，并不是要批判战争，而是让一段段错失的得以重新复活。

地方の温泉旅館‘阿久の湯’の若女将・雅子は、夫が他界して以来、女手一つで旅館を切り盛りしている。そんなある日、夫と瓜二つの客・月間がやって来て…。

在松本主演的七月酷剧中，以“金鱼妻子”闻名的黑泽明的漫画《复仇的寡妇》形象化。为了查明心爱的丈夫被迫自杀的真相，描绘了一个变人潜入公司并开始复仇的女人。

姑、小姑に囲まれ、必死に貞操を守り抜こうとする未亡人にとって、亡き夫に開発された26才の熟れきった肉体は、なんとも扱いかねるもの。その肉体を狙う男たちの好色な眼、周囲に次々と起こる刺激的な事件は、未亡人を淫らな性生活に誘い込んでゆく。

一位妇女和她十岁的儿子以各自的方式，面对着丈夫/父亲的离世。丈夫是在他工作的工厂里去世的，而此时周围的人们都在等待葬礼的日子，心中的期待与专注之情与日俱增。