溺水小刀

　　改编自威利·弗劳廷所著同名小说，讲述一个女人为拯救家庭、防止家人被驱逐出家族的房子，冒着一切风险踏上一夜的惊险旅程，在波特兰的犯罪圈里筹集资金，期间她被迫直面自己黑暗的过去，最终获得自由。

　　眼看着就要奔四的韩松伊（姜惠贞 饰）感情生活依旧一片空白，一次偶然中，她和名叫镇浩（裴秀彬 饰）的男子相遇了，英俊帅气的镇浩很快就吸引了韩松伊的注意，两人一拍即合，感情发展惊人的顺利。然而，随着时间的推移，韩松伊最终还是发现了镇浩的秘密，那就是，除了自己之外，镇浩竟然还 有另外两个正在交往的女朋友。
　　气不打一处来的韩松伊勇敢的站在了情敌们的面前，三个女人一台戏，在不断的斗智斗勇和争风吃醋之中，三人之间竟然产生了奇妙而又坚实的友谊。难道这种三女侍一男的局面就要这样继续下去了吗？抱着这样的疑问，剧情发生了剧烈的转折。

　　故事发生在1943年，日军的屡屡侵犯打破了朝鲜国民的宁静生活，一时间硝烟四起，百姓们失去了赖以生存的家园，过着流离失所的悲苦生活。居昌郡的一个小小村落里，生活着名为正敏（姜荷娜 饰）的十四岁少女，正敏出生在一个平凡但恩爱的家庭中，从小到大都沐浴在父母慈祥的关爱之下。
　　战争的到来结束了正敏无忧无虑的生活，某日，日军占领了村庄，不由分说的将正敏掠走送上了开往日本的火车，和她同行的，都是一些和正敏差不多岁数的少女，每个人心中都惴惴不安，不知会有怎样的命运等待着她们。正敏和其他少女们沦为了日军发泄兽欲的对象，过着暗无天日的悲惨生活，然而正敏内心里有一个无比坚定的希望，那就是活下来，重返故乡。

　　욕망은 인간을 다른 존재로 만든다
　　타인의 죽음과 등가교환을 한 성공, 당신의 선택은?
　　소설에 나오는 살인게임 모티브로 저명한 심리학 교수가 살해당한 사건이 생겼다.
　　하지만 한 젊은 작가 한준은 눈앞의 성공을 위해 살인범을 은폐시키고 만다
　　이로 인해 소설의 원작자인 한준은 모방 범죄로 인해 미디어와 여론에 휩쓸려 인기를 얻게 되고 갑작스러운 성공으로 인생이 뒤바뀌게 된다.
　　한 달 뒤 한준에게 의문의 여인이 살해당한 사진과 함께 한준의 비밀을 알고 있다는 뉘앙스의 협박편지가 택배로 오게 되며, 이에 갈등에 빠진 한준은 그의 성공의 조력자인 젊은 여기자 정현과 함께 범인 추적 가운데서 사진 속 여인을 만나게 되는데...

　　An epic journey revealing the real Mars, as you've never seen it before. Using data from orbiters and rovers to build accurate views of the red planet and uncover its secrets. On a single circuit of Mars from dawn to dusk, encounter monster volcanos, ancient lakes, alien ice-worlds and spacecraft crash sites. Explore humanity's Martian obsession, join the relentless search for life there, and hunt for a human home on the red planet's surface.

　　荒凉严峻的美国西北小镇，命运交织的平凡人生兀自翻涌著。因为劳工索赔被拒，心有不甘的男子愤而携枪挟持人质，迫使女律师不得不硬著头皮隻身涉险劝说；为了建造新家，一对夫妻努力说服当地老人家出售他囤积多年的沙岩，却也让他们的婚姻裂痕隐隐浮现；为了担任法律课程的讲师，年轻女律师千里迢迢地来到偏远小社区，意外与牧场女工逐渐亲密。

　　The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.