第二次世界大战期间，日本军医恭二替一名患梅毒的上尉治疗时，不幸也染上了这可怕的疾病，此后便一直活在恶梦及痛苦中。战后，恭二仍然积极行医，但碍于自己的病，一直婉拒与女友美佐成婚，奈何美佐坚决守候，一耗便是六年的青春光阴。恭二父亲不知道儿子的苦衷，亦常埋怨他对美佐不公平，直至儿子道出自己的不幸，两父子才打破多年来的隔膜……

第二次世界大战期间，日本军医恭二替一名患梅毒的上尉治疗时，不幸也染上了这可怕的疾病，此后便一直活在恶梦及痛苦中。战后，恭二仍然积极行医，但碍于自己的病，一直婉拒与女友美佐成婚，奈何美佐坚决守候，一耗便是六年的青春光阴。恭二父亲不知道儿子的苦衷，亦常埋怨他对美佐不公平，直至儿子道出自己的不幸，两父子才打破多年来的隔膜……

一个避难所的志愿者爱上了一个非法移民的故事。

Brian原本过着平凡幸福的生活，谁知在一个晴朗的日子里，两伙黑帮的街头火并彻底打碎了他的幸福。儿子误中流弹身亡，愤怒的Brian也在和黑帮对抗时被射中喉咙，几乎命丧当场。虽然经过抢救捡回了一条命，但是Brian失去了声音，破碎的小家再也无法复原。万念俱灰的Brian此时已完全被仇恨支配，出院后不久，Brian开始疯狂健身，练习格斗、射击、飙车等技巧，他发誓要在一个月后，亲手干掉杀害了儿子的凶手——墨西哥黑帮光头老大。看似难如登天的不可能任务，由于爱和仇恨的支撑，让Brian走入了最后的修罗场……

吉姆·哥德洛克（乔尔·金纳曼 Joel Kinnaman 饰）一家三口原本过着平凡幸福的生活，谁知在一个晴朗的日子里，两伙黑帮的街头火并彻底打碎了他们的幸福。儿子误中流弹身亡，愤怒的吉姆也在和黑帮对抗时被射中喉咙，几乎命丧当场。虽然经过抢救捡回了一条命，但是吉姆失去了声音，破碎的小家再也无法复原。万念俱灰的吉姆此时已完全被仇恨支配，出院后不久，吉姆开始疯狂健身，练习格斗、射击、飙车等技巧，他发誓要在一个月后，亲手干掉杀害了儿子的凶手——墨西哥黑帮光头老大。 　　看似难如登天的不可能任务，由于爱和仇恨的支撑，让吉姆走入了最后的修罗场……

一首歌，一座帐棚，四个爬山的好朋友。在错综复杂的关系下，各自有各自的打算，没想到，死亡却意外的来临。

一首歌，一座帐棚，四个爬山的好朋友。在错综复杂的关系下，各自有各自的打算，没想到，死亡却意外的来临。

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.