历经两次高考失败后，城市问题少年Dang被母亲带回了家乡，在一个乡村教师的带领下学习。在这里，Dang结识了解了生活在村里的人，并学到了许多有意义的课程，他的生活似乎也有了不同的转变。

历经两次高考失败后，城市问题少年Dang被母亲带回了家乡，在一个乡村教师的带领下学习。在这里，Dang结识了解了生活在村里的人，并学到了许多有意义的课程，他的生活似乎也有了不同的转变。

该剧讲述了演员孙武铉将在剧中扮演演员姜叙俊，凭借完美的外貌和天赋，出道以来从未出现过下滑趋势。仿佛天上的星星般发光的他，因为某件事情进入了厨师韩智宇的世界，经历了微妙的情感变化。演员金江珉将扮演暖男厨师韩智宇，一直以坚韧不拔的韧劲向着目标默默前进，因姜叙俊的闯入陷入一生一世的混乱之中，随着光年推移，他们互相鼓励相爱着。

儿时张晚星救裴彦后失联，裴彦凭她锁骨的桃花胎记苦寻多年。张晚星遭继妹张楚楚陷害失明，又被父亲利用，还因错入房间与被下药的裴彦发生关系并怀孕。她救了裴奶奶后进入裴家，裴彦却误以为她攀附，对其充满误解。相处中二人渐生情愫，裴彦多次瞥见张晚星锁骨胎记的痕迹，而张楚楚不断作梗，想夺走张晚星的一切，双方矛盾持续升级。

该剧讲述了演员孙武铉将在剧中扮演演员姜叙俊，凭借完美的外貌和天赋，出道以来从未出现过下滑趋势。仿佛天上的星星般发光的他，因为某件事情进入了厨师韩智宇的世界，经历了微妙的情感变化。演员金江珉将扮演暖男厨师韩智宇，一直以坚韧不拔的韧劲向着目标默默前进，因姜叙俊的闯入陷入一生一世的混乱之中，随着光年推移，他们互相鼓励相爱着。

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

A friend of mine had rented "Shiner" only because the clerks at his local video store were talking about "how much of a bigot the director is," implying that homophobia was at the root of the film (apparently these folks never watched the special features on the DVD, which totally negates that opinion). My friend took the video home and reported to me his fascination with the film; at the same time, he felt aroused, repulsed, intrigued and frightened during and after the flick. He told me about the premise of the film, and felt somewhat ashamed for finding some of its darker content erotic. 　　 　　A few weeks later, I picked up the film and had a similar experience. I was confused; in the queer movement were taught so much about power dynamics and organize ourselves to fight violence, but here was a dramatically different take on the subject. What ended my confusion was the interview with writer/director Christian Calson on the DVD. The line of his that grabbed me the most: "I didn't want to make another gay romantic comedy." Things suddenly made sense to me. So many queer, I mean, gay films (ahem) are merely homo-remakes of mainstream romantic comedies. As queers, our message got lost as we sought inclusion in a particular medium. So, in what might be the most post-modern move of a writer/director in film history, Christian Calson sought to queer gay cinema. (Yes, I'm using queer as a verb.) He later supports this argument by talking about a form of "post-gay liberation" in which gay leaders shouted "We're doctors! We're lawyers! We're teachers!" to the point our difference and diversity became invisible. "We're just like you" led to us becoming nothing, in a sense. 　　 　　While the movie is disturbing at times, it's thoroughly engaging. The audience member feels like a voyeur, peeping into the lives of these three "couples." And through that voyeurism, we come to a closer understanding of the elements of violence and how it relates to queerness. From self-loathing to internalized homophobia, from bitter rage to being just plain f'ed up, "Shiner" takes us through a mini-gamut of how violence affects us all, in ways no PSA or "the More You Know" segment could ever hope to address. 　　 　　I highly suggest that you pick up the DVD of the film and watch the special features, including the Calson interview and the commentary, which is a noteworthy production in its own right.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

Maxime, un jeune homme de 25 ans, débarque à Paris, mais souhaite rejoindre Justine, la femme qu'il aime, en Inde. Au bar de l'hôtel Raphaël, il fait la connaissance de Jack Lesterhoof, un riche homme d'affaires qui lui propose de devenir son interprète pour un rendez-vous important. Maxime accepte. 　　Les deux hommes deviennent bientôt amis. Jack décide de faire un break, de rompre avec la routine et d'accompagner Maxime en Inde.

Werner Herzog follows mountaineers Hans Kammerlander and Reinhold Messner during their expedition into climbing the Gasherbrum mountains, which has some of the most difficult peaks to be conquered, and they'll do it without the use of oxygen tanks. Herzog also takes some time to hear about their past experiences with other mountains, their personal tragedies and the reasons why they are so involved with such activity. 　　- Written by Rodrigo Amaro