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浩泰和东熙从小像兄弟一样一起长大。几年前搬到首尔的浩泰在父亲葬礼后重新回到了江陵。另一边,东熙因为出柜被赶出家门,独自生活在浩泰家的空房子里。时隔许久重逢的两人,开始了同一个屋檐下的生活。东熙再次看到既像亲兄弟又是自己初恋的浩泰时,虽然想控制住自己激动的心情,但并不容易。浩泰也对好久不见的东熙产生了至今为止从未有过的情感,为了从对东熙的混乱感情中逃脱,浩泰开始随便交女朋友。看着这样的浩泰,东熙感到很受伤,而两人岌岌可危的关系也因为一次意想不到的事件为契机开始慢慢发生变化… 这部为《非故意恋爱故事》的衍生电影
"Can't we all just live together?" It would be nice, but for the twin brothers Il-do and Yi-do, it's just a wishful thought. Born under a cursed fate due to their parents' original sin, one must die for the other to live. To avoid this, they have deliberately cut off contact. However, when Yi-do, who works for a gang, gets stabbed, Il-do somehow hears about it and rushes to donate blood, saving his brother's life. But instead of gratitude, Yi-do attacks him the moment he sees him.
Korea’s most intimidating actor, Heo Sung-tae (Squid Game), stars as Detective Oh Nam-hyuk—a well-meaning but spectacularly inept cop clinging to his badge by a thread. When a botched sting operation lands him in over his head, he’s forced into an unlikely partnership with Tae-bong (Jo Bok-rae), a razor-sharp informant whose cover (and savings) are blown by Nam-hyuk’s bumbling. With a smuggling ring to bust, a fortune to recover, and zero trust between them, the mismatched duo must navigate double-crosses, blown covers, spectacularly stupid raids, and bruised egos.
Un professore di psicologia ormai in pensione si ritira con sua moglie in una casa in campagna piuttosto isolata. Non tanto le quotidiane, irritanti e indesiderate visite dell'unico vicino, che riesce a trasformare in assillante tortura la pacifica vita quotidiana della coppia. Una quotidianità che si popola di incubi con l'apparizione dell'ancora più grassa consorte dell'uomo.
Tae-sik, once a feared ′Hit Man′, loses everything when his boss dies and his gang crumbles. After his closest brother-in-arms, Gi-sun, is murdered in a violent power struggle, Tae-sik vows revenge. With help from a corrupt detective, he meets Mae-hwa, a woman who holds crucial clues to the killer’s identity. As the two grow closer during their search, Mae-hwa’s probing questions put her life in danger—forcing Tae-sik to risk everything to save her.
本片改编自日本女作家井上荒野的短篇小说《不能回来的猫》,入围2011柏林电影节主竞赛单元,两位主演都是无酬劳出演该片。
一对夫妻在经过五年的厮守之后,终于濒临分手的边缘。突然有一天妻子(林秀晶 饰)告诉丈夫(玄彬 饰),她有了别人。丈夫是个貌似沉默宽容的男人,他平静地接受了妻子外遇的事实,仍一如既往深情相待。一面帮妻子整理离去的行李,一面为她准备了美味的咖啡。他一边收拾着行李,一边希望也许就在这个短促而有限的空间,他们可以拾回往昔的记忆。然而,妻子却被丈夫的体贴搞得有点不耐烦,情感出现了波动。丈夫为分别前的最后一餐特别预定了餐厅,而为避雨四处躲藏的小猫又成为他试图挽留妻子的契机……外面的雨一直下个不停……最后他们真的会分手吗?
A suspicious taxi running on a dark road at night; An unidentified patient talking to Mi-sook who lives in a nursing home; A strange and creepy English tutor; A young girl seen in a warehouse... and the mysterious incidents that happen in the house while organizing the mother's belongings.
Horror creep that can be felt even with eyes closed and ears covered. A relay of realistic horror stories that take place at home, in a taxi, and in a nursing home.
More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far.
源自:https://www.mardelplatafilmfest.com/38/en/pelicula/mimang
A boyfriend, who can barely speak English, embarks on an overseas trip with his girlfriend, who takes charge of planning everything and even handles communication on his behalf. However, their journey turns into a nightmare when they barely make it to their accommodation, and strange knocking sounds start emanating from the room. To make matters worse, the girlfriend disappears while taking a shower, and the police immediately suspect the boyfriend. With meticulously crafted initial ominous situations, such as the flight delays, the rental car agency closing its doors, and a major traffic accident experienced shortly after getting into the car, audiences are easily drawn into the protagonist’s intense quest to find his missing girlfriend. Despite the language barrier, he manages to evade the relentless investigation of the local police and skillfully uncovers clues. Unexpected obstacles keep appearing one after another, propelling the story forward without a moment to catch your breath. At the climax of the confusion, when the full truth of the incident is revealed, and viewers are met with a shocking revelation that leaves them gasping in astonishment. (PARK Got)
Yu-jeong, a beautiful and successful woman with a trusting nature, becomes the perfect prey for Sun-hee, a narcissistic sociopath who charms and traps her in an abusive relationship. Desperate to escape, she turns to an old friend for help, while Sun-hee—born a predator—launches a dangerous new venture with his own ally. As their paths collide, all are drawn into a deadly web of lies, betrayal, and violence that spirals toward an explosive climax.
More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far.
