Middle-class housewife Ae-soon (Moon Yae-bong) is excessively vain and neglectful of her duties as a homemaker. Unable to tolerate her any longer, Ae-soon's husband (Lee Keum-ryong) kicks her out, and she leaves him and their daughter Jeong-hee (Yoo Sun-ok) to take up with her lover in a hotel. One day, she finds out that her lover is not a wealthy bigshot after all, but a poor lodger and a criminal to boot. She reports him to the police for a robbery he has committed, and decides to go to Busan after handing him over to the authorities. Speeding in order to catch her train, she accidentally runs over her own daughter. Jeong-hee is rushed to the hospital, where she safely regains consciousness, but Ae-soon is wracked with guilt and resorts to suicide. 　　"The oldest film in existence, and a valuable window into 1930s film grammar, as well as into discourses on New Women and modernity during the Japanese colonial era" 　　Sweet Dreamwas discovered in China by the Korean Film Archive (KOFA) in 2006. As of 2006, it is the oldest Korean film for which the film stock still remains. Director Yang Ju-nam's first film and the sixth "talking picture" from Kyeong Sung Studio, Sweet Dreamis an invaluable standard for examining the film grammar and technical progress of 1930s cinema. The movie's implausible two-dimensional characters, abrupt plot progression, and awkward camera angles and editing indicate that a stable film grammar had yet to be established at this point. Nonetheless, such devices as the aggressive sound montage, the insert shot of the birdcage, and the shot in which Ae-soon, angry at her husband, unsettles the vanity mirror that shows the reflection of her husband's face demonstrate the director's basic awareness of cinematic forms. 　　The movie was released sometime after Henrik Ibsen's A Doll's Housedebuted in Japanese-occupied Korea, when debates about "New Women" were particularly rife. As such, it reflects popular attitudes regarding New Women at the time. Ae-soon's unconvincing insistence on buying the most expensive items at a department store and the sudden castigation she is subjected to for the purpose of emphasizing maternal responsibility appear to be forced moves that were introduced into the unfolding narrative in an attempt to reductively portray the controversial New Woman as licentious, vain, and immoral. Other notable features of the film are the inclusion of modern elements such as the scenery of Seoul at the time and a chase scene between a car and a train. The movie also provides an opportunity to glimpse Moon Yae-bong, who was the most popular actress of the Japanese colonial period and the greatest actress in North Korea, during her debut years.

讲述了一个女伯爵维带着一万法郎拉逃离她的未婚夫奥托王子，来到蒙特卡罗的赌场遇到了一个自称为理发师的男人的故事。

讲述了一个女伯爵维带着一万法郎拉逃离她的未婚夫奥托王子，来到蒙特卡罗的赌场遇到了一个自称为理发师的男人的故事。

Described as Swingers meets A Star Is Born, the film follows a down-on-his-luck comedian-crooner navigating modern Las Vegas with old-school Vegas personalities.

Described as Swingers meets A Star Is Born, the film follows a down-on-his-luck comedian-crooner navigating modern Las Vegas with old-school Vegas personalities.

When a young couple loses all of their money at a casino, the husband performs certain "favours" in order to work the debt off, while his wife is unaware of this kinky arrangement.

Rancher Chuck Rodwell is at the Sands Resort Hotel and Casino in Las Vegas on his annual gambling getaway. Everyone at the Sands knows and welcomes Chuck not only because he is good-natured, but because he is a perpetual loser in the games of chance in the casino. Concurrently at the resort is Maria Corvier, a US-born, Paris-bred ballerina, whose manager Pierre booked her on a lucrative $60,000, two-week stint at the resort's supper club purely as a springboard to a more prestigious gig hopefully in New York City. Maria is all work and no play, does not like this gig of having to perform in a noisy supper club, and does not like the general brash atmosphere of Las Vegas. When Chuck and Maria first meet, she has no time for him, she seeing him as the typical Las Vegas type. However, Chuck, based on circumstances, believes Maria is his lucky charm, he winning at those games of chance whenever he holds her hand. Maria, in turn, begins to believe the same, not only that she is his lucky charm, but that he also is hers. Despite their obvious differences, Chuck and Maria start to fall for each other based partly on the magic feeling of their winning streak. Their attraction and that magic turns to talk of marriage. Beyond the Las Vegas casino and hotel managers, including the Sands own Tom Culdane, and Pierre having their own views of what they want to happen between Chuck and Maria, the strongest force may be the third that has always been in their relationship, Lady Luck, and what would happen if she were ever to leave them. 　　—Huggo

一个本份刻板的电话技术专家是如何慢慢滑向犯罪的深渊。。。钱之罪，人之祸，欲之孽，终究还是自己害了自己。。。