Synopsis 　　One of the few partisan units left in Mt. Jiri after the signing of the Armistice, the unit led by a captain nicknamed "Agari" (meaning "mouth" in Korean) commits all manner of atrocities. Cheol-su(Kim Jin-kyu), who has started to grow disillusioned with the communist ideology, is troubled by the romantic feelings professed by an ideologically devout and cool-headed female comrade named Ae-ran (Lee Ye-chun). One day, another female partisan soldier named So-ju, who had been transferred to another unit, finds her way back to Piagol with a bullet wound in her shoulder. Man-su (Heo Jang-kang) rapes the injured So-ju, who dies under his assault. In order to cover up his crime, he murders his fellow soldiers, frames Dal-su for the rape, and kills him. Once the extermination of guerillas in Mt. Jiri begins, all the partisan soldiers face imminent death. Disgusted by partisan life, Ae-ran and Cheol-su discuss defection, but are discovered in the act by Agari. Cheol-su and Agari get into a fight, and Cheol-su is killed. In the end, Ae-ran kills Agari and descends the mountain alone. 　　Notes 　　"The first movie to be banned for violating the Anti-Communist Act, due to its humane portrayal of North Korean partisan soldiers." 　　Piagol, which served as the cinematic model for anti-communist humanism, depicts each of its characters, either in main or supporting roles, with vital detail. What makes Piagol at once unique and problematic as an anti-communist film is the fact that no South Korean soldier or police officer ever makes an appearance; it only features North Korean partisan soldiers. Unlike the guerilla fighters in newspapers and documentary films, who were portrayed as anonymous villains and cold-blooded killers, Piagolendowed partisan soldiers with distinctive personalities, and each unique character encounters human conflicts caused by his or her desires. The media and the government banned the film from being screened on the charge of violating the Anti-Communist Act, censuring its excessively "realistic" and human depiction of North Korean soldiers. (Critic Lee Young-il, author of The History of Korean Cinema [Hanguk yeonghwa jeonsa], cited this very fact as his basis for dubbing this film as an example of realistic anti-communist humanism and praising its artistic achievement.) Because the audience at the time held only vague ideas about the difference between dramatic films and documentary filmsi.e. between fiction and factand because anti-communism was deemed more than a simple ideology but a matter of survival, Piagol's realistic depictions might well have been considered threatening. 　　Indeed, one of the most prominent characters in the film, partisan leader Agari (Lee Ye-chun), is a good case in point. Although he is portrayed as a brutal villain throughout, a nightmare sequence conveyed through an intricate montage sequence endows him with internal conflict and feelings of guilt regarding his own cruelty and violence. Further, the expression of his obsessive devotion to ideology, which he is unable to abandon even at the end, elicits a measure of sympathy from the audience. Most of all, the character of Ae-ran (No Kyeong-hee), a capable and decisive female leader who shows rigorous dedication to the communist cause until the latter half of the movie, is represented in a considerably attractive light. Honest about her feelings and desires, and more capable than anyone else, Ae-ran exemplifies the image of an active woman even from our contemporary perspective. 　　Afterword: 　　- Piagol's initial screening license was revoked because of an anti-communist controversy, but the film received permission to re-screen thereafter. 　　- As shooting took place in Mt. Jiri soon after the Armistice was signed, when remnants of partisan bands were still hiding out on the mountain, the staff and cast testified to having actually felt a sense of danger during filming.

Synopsis 　　One of the few partisan units left in Mt. Jiri after the signing of the Armistice, the unit led by a captain nicknamed "Agari" (meaning "mouth" in Korean) commits all manner of atrocities. Cheol-su(Kim Jin-kyu), who has started to grow disillusioned with the communist ideology, is troubled by the romantic feelings professed by an ideologically devout and cool-headed female comrade named Ae-ran (Lee Ye-chun). One day, another female partisan soldier named So-ju, who had been transferred to another unit, finds her way back to Piagol with a bullet wound in her shoulder. Man-su (Heo Jang-kang) rapes the injured So-ju, who dies under his assault. In order to cover up his crime, he murders his fellow soldiers, frames Dal-su for the rape, and kills him. Once the extermination of guerillas in Mt. Jiri begins, all the partisan soldiers face imminent death. Disgusted by partisan life, Ae-ran and Cheol-su discuss defection, but are discovered in the act by Agari. Cheol-su and Agari get into a fight, and Cheol-su is killed. In the end, Ae-ran kills Agari and descends the mountain alone. 　　Notes 　　"The first movie to be banned for violating the Anti-Communist Act, due to its humane portrayal of North Korean partisan soldiers." 　　Piagol, which served as the cinematic model for anti-communist humanism, depicts each of its characters, either in main or supporting roles, with vital detail. What makes Piagol at once unique and problematic as an anti-communist film is the fact that no South Korean soldier or police officer ever makes an appearance; it only features North Korean partisan soldiers. Unlike the guerilla fighters in newspapers and documentary films, who were portrayed as anonymous villains and cold-blooded killers, Piagolendowed partisan soldiers with distinctive personalities, and each unique character encounters human conflicts caused by his or her desires. The media and the government banned the film from being screened on the charge of violating the Anti-Communist Act, censuring its excessively "realistic" and human depiction of North Korean soldiers. (Critic Lee Young-il, author of The History of Korean Cinema [Hanguk yeonghwa jeonsa], cited this very fact as his basis for dubbing this film as an example of realistic anti-communist humanism and praising its artistic achievement.) Because the audience at the time held only vague ideas about the difference between dramatic films and documentary filmsi.e. between fiction and factand because anti-communism was deemed more than a simple ideology but a matter of survival, Piagol's realistic depictions might well have been considered threatening. 　　Indeed, one of the most prominent characters in the film, partisan leader Agari (Lee Ye-chun), is a good case in point. Although he is portrayed as a brutal villain throughout, a nightmare sequence conveyed through an intricate montage sequence endows him with internal conflict and feelings of guilt regarding his own cruelty and violence. Further, the expression of his obsessive devotion to ideology, which he is unable to abandon even at the end, elicits a measure of sympathy from the audience. Most of all, the character of Ae-ran (No Kyeong-hee), a capable and decisive female leader who shows rigorous dedication to the communist cause until the latter half of the movie, is represented in a considerably attractive light. Honest about her feelings and desires, and more capable than anyone else, Ae-ran exemplifies the image of an active woman even from our contemporary perspective. 　　Afterword: 　　- Piagol's initial screening license was revoked because of an anti-communist controversy, but the film received permission to re-screen thereafter. 　　- As shooting took place in Mt. Jiri soon after the Armistice was signed, when remnants of partisan bands were still hiding out on the mountain, the staff and cast testified to having actually felt a sense of danger during filming.

仙界，神仙与人类所居住的那个世界迎来了毁灭的危机。掌握改变世界关键的正是寻找着凶神・四凶的歌士一叶与其使役神滇红。两人隐瞒着各自的目的寻找着四凶。倍受束缚的家族与其失去的过去，为了取回重要之物，一叶与滇红将走遍世界。以长年广受阅读的高山忍的人气漫画为题材所改编，描写歌士一叶与其使役神滇红的战斗的奇幻动作片！倍受束缚的家族与其失去的过去。为了取回重要之物，歌士一叶与其使役神滇红的战斗即将展开！

曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。

曾经有这四位凶神与八百万神灵的国家[实际是中国]，被封印在四方的山中的四凶神中的两神逃走后，八百万神灵也离开奔向世界各处。自此这个国度就被伟人们守护着。这个没有了神话的国度为了找回奔向各地的八百万神灵设立了一种职业——歌士官。主人公，一叶，正是这其中的一员。

Six people bound together by a traumatic experience decide to round off a year of group therapy in style. They join each other once more, traveling up to the Scottish Lowlands for a reunion weekend in a 1970s holiday let. Soon a number of mysterious and horrifying events start to expose the cracks in their relationships, and one by one they discover that trust runs but skin-deep. A night of closure turns out to be far more final than they could have anticipated.

Six people bound together by a traumatic experience decide to round off a year of group therapy in style. They join each other once more, traveling up to the Scottish Lowlands for a reunion weekend in a 1970s holiday let. Soon a number of mysterious and horrifying events start to expose the cracks in their relationships, and one by one they discover that trust runs but skin-deep. A night of closure turns out to be far more final than they could have anticipated.

Men-Chuan Yang, a fisherman with over half a century of fishing experience, sees the ocean in front of his home as if it were his parents, helping him shoulder the heavy responsibility of being the head of the family. Unlike most Hakka people who have memories of farming, his ancestors had already turned to the ocean for development. Even though his father once laughed at him for being clumsy and slowing down progress, Men-Chuan Yang still maintained diligent practice. He collected broken nets and learned his father's hand-woven fishing net technique. Although the nylon fishing line and netting machines from Japan have already replaced hand-woven fishing nets. But he still strives to pass on the skill of hand-woven netting to his grandson, because repairing fishing nets still relies on manual labor. The holes in the net need to be repaired by hand, and the holes in forgetting need to be avoided by generational inheritance. Men-Chuan Yang watches his grandson weave fishing nets, hoping he will remember the admonition "people must not forget their roots."

新婚夜，嬷嬷告诉我，我的夫君有个双胞胎兄弟玄王，两人长得一模一样，唯独夫君眼角有一颗美人痣不同。每晚我都要轻抚他的美人痣才能安心。可我却发现，夫君的性情总是大变，而两人，也从未同时出现过。直到我看见夫君胸膛遍布的伤痕才发现一切的真相。

一个16岁的男孩坚信自己将来会成为一个音乐巨星，尽管在这个小镇上的其他人都不这么认为，直到一位著名的音乐家的儿子来到了这里并帮助他排练他的才艺秀节目，他们在互相学习的过程中也逐渐变得更加亲密。