2011年香港亚洲电影节参展动画导演延尚浩，继前作拿「猪」开玩笑，以变态到极点的智慧影射现实的残酷生活后，又一部极具批判性的作品，成为本届多伦多影展唯一入围亚洲动画，讽刺教会的虚伪。人是否一定忠奸分明？教会的领袖是否一定好人？在韩国一个小镇，有预言指水灾即将降临。为人敬重的教会长老，誓要将信念和希望带给信众。只要他们肯奉献金钱，就可以带领他们重建家园。然而，筹务经费的计划，却被一名声名欠佳的镇民质疑。二人展开一场「形象」之战，背后却各有目的。

A convict returns to his home town to again torture his family, face his neighbors and try to destroy the local religious fanatics and their plans to keep money from the village people.

Does the country have to compensate for a case against those socially weak? 　　Sexual favors and harassment by the high class society, weak females of the society send them a warning. 　　So-yeon is a college student who sues the government for not being able to protect the socially weak from sexual favors. She goes on national television to talk about this case. Hae-yeong is a broadcasting anchor who hosts the show and the panel starts to battle about the matter of sexual favors. Uncensored words go back and forth as the debate goes on and the initial topic of sexual favors turns into a talk about the basic laws that the government must live by and its problems as well as the duplicity of the higher social class. The debate turns into harsh words and pointing fingers while the director of the broadcasting station instigates them to do better for improved viewing percentage . So-yeon is alone in the hall after everyone’s left and she opens her mouth 　　“There's no seduction I can't refuse...”

Does the country have to compensate for a case against those socially weak? 　　Sexual favors and harassment by the high class society, weak females of the society send them a warning. 　　So-yeon is a college student who sues the government for not being able to protect the socially weak from sexual favors. She goes on national television to talk about this case. Hae-yeong is a broadcasting anchor who hosts the show and the panel starts to battle about the matter of sexual favors. Uncensored words go back and forth as the debate goes on and the initial topic of sexual favors turns into a talk about the basic laws that the government must live by and its problems as well as the duplicity of the higher social class. The debate turns into harsh words and pointing fingers while the director of the broadcasting station instigates them to do better for improved viewing percentage . So-yeon is alone in the hall after everyone’s left and she opens her mouth 　　“There's no seduction I can't refuse...”

Does the country have to compensate for a case against those socially weak? 　　Sexual favors and harassment by the high class society, weak females of the society send them a warning. 　　So-yeon is a college student who sues the government for not being able to protect the socially weak from sexual favors. She goes on national television to talk about this case. Hae-yeong is a broadcasting anchor who hosts the show and the panel starts to battle about the matter of sexual favors. Uncensored words go back and forth as the debate goes on and the initial topic of sexual favors turns into a talk about the basic laws that the government must live by and its problems as well as the duplicity of the higher social class. The debate turns into harsh words and pointing fingers while the director of the broadcasting station instigates them to do better for improved viewing percentage . So-yeon is alone in the hall after everyone’s left and she opens her mouth 　　“There's no seduction I can't refuse...”

阿富汗2014。当部队即将撤离时，Antarès Bonassieu上尉和他的部队被指派在巴基斯坦边境的Wakhan偏远山谷执行控制和监视任务。尽管他们下定决心，但安塔利斯和他的手下逐渐失去了对本应平静的地区的控制。九月的一个晚上，山谷里的士兵神秘地消失了。

In 1964 author Samuel Beckett set out on one of the strangest ventures in cinematic history: his embattled collaboration with silent era genius Buster Keaton on the production of a short, titleless avant-garde film. Beckett was nearing the peak of his fame, which would culminate in his receiving a Nobel Prize five years later. Keaton, in his waning years, never lived to see Beckett’s canonization. The film they made along with director Alan Schneider, renegade publisher Barney Rosset, and Academy Award-winning cinematographer Boris Kaufman, has been the subject of praise, condemnation, and controversy for decades. Yet the eclectic participants are just one part of a story that stretches to the very birth of cinema, and spreads out to our understanding of human consciousness itself. 　　NOTFILM is a feature-length experimental essay on FILM’s production and its philosophical implications, utilizing additional outtakes, never before heard audio recordings of the production meetings, and other rare archival elements.

4.3 사건으로 상처 입은 제주도와 제주사람들... 　　그리고 지금 아프게 부서져 가는 강정마을의 이야기 　　제주시 애월읍 납읍에 살고 계신 강상희 할머니, 할머니의 남편 김봉수는 4.3으로 희생되었다. 해군기지 문제로 떠들썩한 서귀포시 강정마을. ‘4.3의 원혼이 통곡한다’ 와 같은 수많은 현수막이 제주 4.3과 해군기지 문제가 다르지 않음을 말한다. 카메라는 유령처럼 제주도 납읍리, 가시리, 강정마을, 일본 오사카 등을 돌며 그 흔적과 균열들을 드러내기 시작하고 다시 강상희 할머니가 혼자 살고 있는 집 앞마당으로 돌아온다. 언제부터인지 알 수 없지만 잠자리 밑에 녹슨 톱을 두고 살아온 할머니의 삶... 가늠할 수 없는 깊은 슬픔을 짊어진 제주도와 제주사람들의 삶에서 녹슨 톱은 언제쯤 치워질 수 있을까. 　　Focusing on Mrs. Kang sang-hee's life, she lost her husband in Jeju Uprising (March 3rd, 1948). The film views the dark-side of Jeju Is land, a huge grave, which is completely opposite of the other side of the island, the famous tourist attraction. It says that the tragedy has been going on about the recent Gang-jeong village situation.