故事叙述宫中发生一起劫金案件，同时珍藏于宫的茅山术秘帖亦被盗走。茅山术秘帖实为丐帮镇帮之物，乃一邪恶密术，然而却在前代帮主手上遗失，得知此事后，现任乔帮主（梁家仁饰）决意调查此案，找出密帖将其销毁。 　　而在宫廷方面，豫王爷（黄正利饰）亦派手下九门提督府总捕头包正义（白彪饰）找回茅山术秘帖。在线人提供的情报下，包循线找到了贼党之一豆腐店的张五（王圻生饰），更从张五处得知了其余贼党下落。。。

2015年11月，突尼斯的麦吉拉山。一支圣战组织袭击了两名年幼的牧羊人，14岁的阿什拉夫被迫将噩耗带回家。在创伤的阴影下，阿什拉夫竭力保持理智，却不得不面对长辈的无力和当局的抛弃。影片灵感源于真实事件，探索了阿什拉夫在面对如此惨痛经历后的心理状态和情感旅程。

2015年11月，突尼斯的麦吉拉山。一支圣战组织袭击了两名年幼的牧羊人，14岁的阿什拉夫被迫将噩耗带回家。在创伤的阴影下，阿什拉夫竭力保持理智，却不得不面对长辈的无力和当局的抛弃。影片灵感源于真实事件，探索了阿什拉夫在面对如此惨痛经历后的心理状态和情感旅程。

桃源镇的阴守一从小到大都梦想能够成为茅山弟子，匡扶正义。但母亲却只希望他能平安度过一生。茅山叛徒洛幻真再次挑衅茅山，想要抢夺茅山灵气，阴守一意外被选为“九龙真人”，担负起了拯救茅山的责任。茅山掌门凌霄道长对阴守一不抱希望，但渐渐被阴守一的执著和大义感动，将阴守一培养成了真正的九龙真人，守护茅山。

茅山作为道教文化集萃之地，因而得名“秦汉神仙府，梁唐宰相家”、“第一福地，第八洞天”等美誉。该片将带领观众们走进茅山，领略神秘面纱下的茅山人文往事。

故事发生在位于南方山区的一个小村庄里，金竹（王雁 饰）的丈夫王大猛在一场矿难中不幸丧生，留下金竹和女儿欢欢两人相依为命。王大猛有一个弟弟二猛，长嫂如母，金竹不仅在生活上照顾着二猛，还为二猛找了一个漂亮的女朋友凤月。可是，二猛和凤月之间的价值观相差巨大，二猛想要努力在矿 上工作报效国家，凤月却担心他的安全问题而不支持他的工作，就这样，两人最终分道扬镳。 　　实际上，二猛一直默默的喜欢着金竹，在凤月离开后，二猛将自己的爱慕之情统统倒出，金竹又羞又怒，拒绝了二猛。但二猛并没有就此放弃，而是抓住一切机会帮助金竹，渐渐的，金竹对二猛的感情发生了变化。

故事发生在位于南方山区的一个小村庄里，金竹（王雁 饰）的丈夫王大猛在一场矿难中不幸丧生，留下金竹和女儿欢欢两人相依为命。王大猛有一个弟弟二猛，长嫂如母，金竹不仅在生活上照顾着二猛，还为二猛找了一个漂亮的女朋友凤月。可是，二猛和凤月之间的价值观相差巨大，二猛想要努力在矿 上工作报效国家，凤月却担心他的安全问题而不支持他的工作，就这样，两人最终分道扬镳。 　　实际上，二猛一直默默的喜欢着金竹，在凤月离开后，二猛将自己的爱慕之情统统倒出，金竹又羞又怒，拒绝了二猛。但二猛并没有就此放弃，而是抓住一切机会帮助金竹，渐渐的，金竹对二猛的感情发生了变化。

Synopsis 　　Su-dong (Cho Yong-su) and Ok-rang (Kim Sam-hwa) have been betrothed since before they were born. When Scholar Kim's son Mu-ryeong (Park Am)recently returned from Hanyangbegins to lust after Ok-rang, her mother, who considers Su-dong unworthy of her daughter's hand, takes advantage of this fact to strike a promise of marriage with Scholar Kim's wife. Su-dong's mother (Ko Seon-ae) and Ok-rang's father (Kim Seung-ho) have their children secretly wed on a field, and the newlyweds run away from the village. After spending their first night together, they are captured by Scholar Kim's men who have pursued them, and Su-dong falls off a cliff in the process. Encountering Ok-rang as she is being dragged back by Scholar Kim's men, her father kills one of them by accident and both father and daughter are thrown in jail. Mu-ryeong demands Ok-rang's hand in marriage in exchange for covering up the murder, and Ok-rang reluctantly accepts his proposal. Mu-ryeong takes Ok-rang home after she is released from jail. Su-dong, following in their wake, tries to kill Mu-ryeong, but when Ok-rang tells him that she is determined to marry Mu-ryeong, he falls into despair, returns to his home, and hangs himself. Su-dong's mother and uncle bury Su-dong's body by the road that Ok-rang's wedding procession is to take. Whenthe procession passes by the grave, everyone in the party finds that his feet are stuck to the ground. Su-dong's mother blocks the procession and stabs Ok-rang, who has emerged from her bridal palanquin. Ok-rang crawls to where Su-dong has been laid, and draws her last breath by his grave. 　　Notes 　　"A film that allows us to see the archetype of Kim Ki-young's cinematic vision" 　　Yangsan Province (Yangsando, 1955) is director Kim Ki-young's second feature film. The printed reviews from the time indicate that Yangsan Provincedid not receive much critical acclaim when it was first released. For example, Yoo Do-yeon slams the movie as a "work of bad taste," a failed attempt at tragedy on the part of the director. Along similar lines, Heo Baek-nyeon criticizes it as an insincere film that "debases the dignity of Korean cinema." 　　Certainly, the plot of Yangsan Province, which follows the love triangle composed by two lovers from the lower classes and an upper-class interloper who threatens their relationship, hasappeared repeatedly as a hackneyed subject in Korean mass culture, dating back to such centuries-old tales as The Story of Chunhyang (Chunhyangjeon) as well as to Japanese-derived new-school drama like Day Dream (Janghanmong). Furthermore, the lack of vivid emotional throughlines in the actors'performances, lines and scenes that are symbolic yet disjointed from the context, and the exaggerated action and facial expressions of the love scenes might well have provided additional impediments to the audience's ability to naturally immerse themselves in the film. In particular, the denouement (missing from the Korean Film Archive's remaining footage), in which Su-dong descends from the sky in a ray of light and takes Ok-rang up with him, could even have come across as insulting to intelligent members of the audience at the time, steeped as they were in conventional realism. 　　Ironically, however, what was denounced as the film's weakness by Kim Ki-young's contemporaries appears to us today as the defining characteristic of the director's cinematic vision. That is, the unnaturalness and excess that seem to satirize forced emotional responses or even to convert tragedy into farce first showed its germ in Yangsan Province, and later developed in earnest from The Housemaid (Hanyeo) onward. Above all, we must pay attention to the fact that Kim Ki-young purposely derived the film's subject from an old Korean tale, and that the scene he professed the most attachment to was the film's grandiose ending. In short, Kim Ki-young created Yangsan Provincenot from the perspective of realism but of fantasy. This intention, unfortunately, does not appear to have come through in the film as well as it could have, and it would be something of a stretch to number Yangsan Province among the "classics" of Korean cinema. Nevertheless, the movie provides a vital clue to understanding Kim Ki-young's early works. If we remember the fact that it is the only one of the director's eight films prior to The Housemaid(1960) to survive to this day, Yangsan Province takes on even more historical significance. 　　Afterword: 　　- The movie tells the heartbreaking story recounted in the song, "Yang san Province (Yangsando)." 　　- Yang san Provincewas released on DVD as the first title in the Korean Film Archive Collection's classics collection.

清末民初，富商任老爷意外身亡，坊间纷纷传闻任老爷是被僵尸害死。死去的任老爷诡异“复活”，变成了大家口中的僵尸。警署曹队长请来了千鹤道长降服邪祟，一番作法之后，就连千鹤道长也无能为力。僵尸逐渐变得越发的凶猛，小镇上人心惶惶，茅山道士九叔面临着平生最危险的一次斗法…