SYNOPSIS Hyung-pyo and Shin-ae meet by chance at a nightclub. Watching news of a murder on TV, Shin-ae senses Hyung-pyo's involvement in the crime. She gets her boyfriend, Dong-min, and they start to investigate. They find out that Hyung-pyo who lives with his wife's family is involved in lecherous acts or line of work, and that his wife is disabled and unable to use her lower body. They also discover that he is having an affair with his half-sister, Yu-mi and that he forced his younger sister into an arranged marriage to get funds to set up his business. As Shin-ae and Dong-min continue to investigate Hyung-pyo's complex and intricate relationships, all the women Hyung-pyo is involved with get killed off one by one. While following Hyung-pyo, they discover that Mi-hwa, the wife, is able to walk. They suspect her of the murders but it turns out the killer is none other than the half-sister, Yu-mi. 故事 Hyoung - pyo和Shin Ae在夜总会见面。当有关凶杀案的消息被报道后，新爱阿姆发现情节已经涉及，并开始与男友东敏的调查。Hy lives生活在他妻子的子宫里，是一个黑人男子，他的妻子爱华发现他是一个残疾人士在他的下体残疾人。Yumi和Yumi之间的关系，他安排他的兄弟娶他的妻子带出商业资金的事实，追查了她和她妹妹之间复杂的微妙关系。跟随着Hyongpyo的Shin Ae和Dongmin，当他们看到可以走的美化的时候，对她是怀疑的，但是肇事者原来是她的半姐妹Yumi。

A girl questions her boyfriend's motives for wanting to major in nursing. She urges him to prove himself by defeating his rivals in a school sports competition

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Five year old Ggot-ji is kidnapped by a group of teens who want to ransom her back to her wealthy father. However, they end up stabbing Ggot-ji's father and are forced to flee. Little Ggot-ji escapes from them and hides in the mountain forest with her abductors in hot puruit

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SYNOPSIS Ae-ri is a ninth grader in an all girls' junior high school. Her mother has passed away and she lives with her aunt. Ae-ri is happy when her father returns from a trip abroad. However, it is revealed that Ae-ri has an untreatable tumor in her kidneys. Ae-ri's father resigns from his job and makes his daughter happy by going on a trip along the south coast as Ae-ri wishes. Ae-ri knows of her terminal condition but pretends not to know. She tells her father to marry his girlfriend, Jin-young. Ae-ri quickly rushes to get published the poems her father has written from time to time. While dancing an ecstatic waltz with her father, Ae-ri breathes her last. 故事 三年级的Ariy住在一间没有母亲的房子里，喜欢从父亲回家。然而事实证明，她患有一种肾脏肿瘤的绝症，她的父亲辞去了她的公司，并且为了让女儿在南海周围旅行感到高兴，这是女儿的愿望。阿里知道她的病情，假装不认识她，与她父亲的女朋友营安排婚姻，并催促出版她父亲的诗歌。阿里和爸爸一起用华丽的华尔兹醒来。

Director Ryu Hyung-seok, who served as a conscripted firefighter during his mandatory military service, made a documentary about firefighters. Responding to calls from those on the edge of life and death, these modern-day heroes at the Yangsan Firestation and Ulsan Fire Headquarters are the focus of The First Responders. Without voiceover narration or interview shots, the film captures not only the team’s work and daily lives, but also their inner darkness, desires, and the difficult fate inherent in their profession. Here, the camera is not simply a tool for recording but is one of them, acting as their eyes. “Just strip away all emotion and focus on what you need to do,” one firefighter says, and the documentary mirrors this approach, moving steadily forward without being swept up by emotional waves. Yet the film inevitably reaches heart-warming moments. This documentary offers an exceptionally humanistic insight into the profession.

During the Pacific War (1941-1945), a Korean young man, who has changed his name into Japanese Matsodo, volunteers to join the student army in support of Japan's militarism and is deployed in the Burmese front line. Despite his fellow Korean student soldiers' advice, he does not repent his behavior. He then gets to know Hurasen, a woman resistance soldier, who fights for the independence of Burma. Through her, he realizes at heart the sorrow and anger of the oppressed people. Then, finally, he turns his barrel toward the Japanese invasion army and joins the Burmese independence front. By the time, he meets the independence of Korea on the 15th of August.

网剧

This expanded cinema explores the hypnotic grip of film and questions its role in shaping our memories and perceptions long after the credits roll. In Undercurrent’s first-ever expanded cinema piece, performer-director HeeSue Kwon reimagines the filmic experience. The projector extends itself beyond a mechanical device: it transforms into a living entity, reanimating the collective memories of its audience. Through Kwon’s live manipulation of flickers and intervals, the cinematic apparatus gains autonomy, continuously looping and coming alive. Using a reverse diffusion model, Melting Fire Iceman employs AI to portray the fluid, shifting nature of cinema’s core memories. Early films, drawn from online repositories and the Korean Film Archive, are dissolved and reimagined by AI, seemingly in an infinite cycle of rebirth. In this mesmerising process, the boundaries between memory, spectatorship and the cinematic experience are redefined.