那年夏天，媽媽又住進醫院。沂凌因身世問題再加上遭受姊姊思晴突如其來的妒忌，而感到無所適從。在日復一日的生活中，她們練習用力呼吸，也練習迎接死亡到來的那一天。知名舞台劇演員鄧九雲跨刀演出，共譜深刻女性親情詩篇。

广濑夏子高中毕业后成为了一名原画师， 　　迅速展现出自己的才华，并很快以导演身份出道。 　　首次导演的作品成了社会现象般的大作，广受好评。 　　夏子被评价为新锐天才导演， 　　并决定下一部作品是以初恋为主题的剧场恋爱喜剧。 　　然而，从未体验过恋爱的夏子对初恋毫无概念， 　　因而无法创作分镜，电影制作也陷入僵局。 　　某天在绘制分镜时，夏子突然失去了意识，当她醒来时， 　　发现自己已经身处于小时候沉迷的动画电影《灭亡物语》的世界之中。

广濑夏子高中毕业后成为了一名原画师， 　　迅速展现出自己的才华，并很快以导演身份出道。 　　首次导演的作品成了社会现象般的大作，广受好评。 　　夏子被评价为新锐天才导演， 　　并决定下一部作品是以初恋为主题的剧场恋爱喜剧。 　　然而，从未体验过恋爱的夏子对初恋毫无概念， 　　因而无法创作分镜，电影制作也陷入僵局。 　　某天在绘制分镜时，夏子突然失去了意识，当她醒来时， 　　发现自己已经身处于小时候沉迷的动画电影《灭亡物语》的世界之中。

多位失婚團友，將包括藝人、名人、素人，各自都經歷過婚姻失敗。透過節目，團友各自分享自身個案及離婚成因，彼此給予意見，了解自身不足。節目亦會安排眾人分開3團出發到不同國家或地區，與當地人接觸，了解當地婚姻文化，令各人對自身婚姻價值觀有全新體會。

多位失婚團友，將包括藝人、名人、素人，各自都經歷過婚姻失敗。透過節目，團友各自分享自身個案及離婚成因，彼此給予意見，了解自身不足。節目亦會安排眾人分開3團出發到不同國家或地區，與當地人接觸，了解當地婚姻文化，令各人對自身婚姻價值觀有全新體會。

The film opens with Seoul’s “Freedom Center,” a formidable brutalist building that has become synonymous with South Korea’s anti-communist regime. Though largely abandoned today, its influence still endures. In democratic Korea, the civil war has morphed into a war of images, one that has forged an impregnable, unambiguous reality for its people. In this lyrical, insightful, and skillfully-edited essay, Kim Mooyoung analyzes a wealth of visual materials, intercutting newsreel footage with surprising, at times poignant, and often utterly absurd excerpts from South Korea’s distinguished film history, exposing the chasm between history and propaganda, and revealing how echoes of the past have been meticulously preserved and replicated in South Korea’s present. Accompanied by captivating commentary, all these elements fit together harmoniously, leaving us both astonished and unsettled by ideology’s terrifying ability to hit hardest when veiled.

The film opens with Seoul’s “Freedom Center,” a formidable brutalist building that has become synonymous with South Korea’s anti-communist regime. Though largely abandoned today, its influence still endures. In democratic Korea, the civil war has morphed into a war of images, one that has forged an impregnable, unambiguous reality for its people. In this lyrical, insightful, and skillfully-edited essay, Kim Mooyoung analyzes a wealth of visual materials, intercutting newsreel footage with surprising, at times poignant, and often utterly absurd excerpts from South Korea’s distinguished film history, exposing the chasm between history and propaganda, and revealing how echoes of the past have been meticulously preserved and replicated in South Korea’s present. Accompanied by captivating commentary, all these elements fit together harmoniously, leaving us both astonished and unsettled by ideology’s terrifying ability to hit hardest when veiled.

An anthology of horror shorts about death.

短片记录画面是1896年英国伦敦帝国剧院入口，电影散场后绅士淑女们纷纷走出，马车夫们趁机停下等待乘客上车。电影院招牌上大字写着：卢米埃尔电影每晚放映（Lumiere Cinematographe Every Evening）。