Chilling anthology series where membership to the secret society, The Club of the Damned, is granted through telling horror stories.

2005年、ある観光地で起きた無差別殺人。犯行直後に犯人が海に飛び降り自殺。白石晃士は事件の被害者である青年・江野祥平に出会い、奇妙な証言を聞き出すが…。「口裂け女」の白石晃士監督が放つ、フェイクメンタリーホラー。

2005年、ある観光地で起きた無差別殺人。犯行直後に犯人が海に飛び降り自殺。白石晃士は事件の被害者である青年・江野祥平に出会い、奇妙な証言を聞き出すが…。「口裂け女」の白石晃士監督が放つ、フェイクメンタリーホラー。

It starts with two voices in the dark, although they’re hardly voices, more electronic squelching noises darting back and forth across the soundtrack, their messages subtitled, gently directing us through the film. They speak to each another with such tenderness that they could be in love, although the overlapping “yous”, “Is” and “wes” they keep repeating could also be aimed at those all around them, whether those who later take to the screen or those sitting in the auditorium watching it; guided meditation, like cinema, is a collective experience, something for everybody. Bodies of all kinds duly appear before the camera, filmed with the same tenderness and in so many shifting, shimmering textures: young performers with and without disabilities, filigree crabs and shrimps, drawings of birds, a singing mermaid princess and scuttling plastic insects. These myriad bodies are impossible to separate from the landscape they find themselves in, the waters, rocks and mountains of Madeira, its plants, flowers and fruits, an island as a body full of bodies that are full of bodies in turn; such effortless elimination of boundaries is indeed supernatural. Hug me baby, don’t let me fall.

It starts with two voices in the dark, although they’re hardly voices, more electronic squelching noises darting back and forth across the soundtrack, their messages subtitled, gently directing us through the film. They speak to each another with such tenderness that they could be in love, although the overlapping “yous”, “Is” and “wes” they keep repeating could also be aimed at those all around them, whether those who later take to the screen or those sitting in the auditorium watching it; guided meditation, like cinema, is a collective experience, something for everybody. Bodies of all kinds duly appear before the camera, filmed with the same tenderness and in so many shifting, shimmering textures: young performers with and without disabilities, filigree crabs and shrimps, drawings of birds, a singing mermaid princess and scuttling plastic insects. These myriad bodies are impossible to separate from the landscape they find themselves in, the waters, rocks and mountains of Madeira, its plants, flowers and fruits, an island as a body full of bodies that are full of bodies in turn; such effortless elimination of boundaries is indeed supernatural. Hug me baby, don’t let me fall.

俞世润是韩国家喻户晓的谐星。某天，他的身体开始出现怪状，不是做出一些难以解释的行为，就是重复念着含糊不清的字句，这让他想起自己14岁时也发生过同样的事。这段痛苦的回忆成为世润一家人的秘密，没想到多年后的这一天，那个奇怪的声音又出现，严重困扰到他的日常生活。这次他决定要拿起摄像头，拍下自己的变化。你从没见过的真实恐怖纪录，隐藏在笑容背后的15天身体异常，全程直击、骇人揭晓。

俞世润是韩国家喻户晓的谐星。某天，他的身体开始出现怪状，不是做出一些难以解释的行为，就是重复念着含糊不清的字句，这让他想起自己14岁时也发生过同样的事。这段痛苦的回忆成为世润一家人的秘密，没想到多年后的这一天，那个奇怪的声音又出现，严重困扰到他的日常生活。这次他决定要拿起摄像头，拍下自己的变化。你从没见过的真实恐怖纪录，隐藏在笑容背后的15天身体异常，全程直击、骇人揭晓。

关于未来泰国的科幻叙事，拥有未来主义的、实验性的、同性恋的，并带有政治的元素。

'Stories Not to Be Told' shines the comedic spotlight on those kinds of situations we've all found ourselves in, but which we'd rather no one ever knew about, or which we wish we could forget about altogether.

'Stories Not to Be Told' shines the comedic spotlight on those kinds of situations we've all found ourselves in, but which we'd rather no one ever knew about, or which we wish we could forget about altogether.