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備注：已完結(jié)
類型：劇情片
導(dǎo)演：洪常秀
語言：韓語
年代：未知
簡介： 女演員回國後住在朋友家，逗逗胖胖的貓咪，與想入行的表妹見面，還好像感到園裏的花跟她說話。男詩人獨居，女生來拍他的紀(jì)錄片，年輕男演員登門拜訪，詩人為了健康理由戒煙戒酒，但言談甚歡下又重拾杯中物。兩個平行小故事，都發(fā)生在一天內(nèi)，看來無關(guān)又似有呼應(yīng)，主角吃麵都愛加辣椒醬，也剛巧都有個不常彈的結(jié)他。洪常秀拍完《水中鏡花》（47屆），再次包攬編導(dǎo)攝影剪接美術(shù)和音樂，彷彿無招勝有招，讓金珉禧與奇周峯在各自的細(xì)碎生活對話裏，看來雲(yún)淡風(fēng)輕，卻散逸魅力。
備注：已完結(jié)
類型：劇情片
主演：伊莎貝爾·于佩爾 李慧英 權(quán)海驍 趙允熙 河成國
導(dǎo)演：洪常秀
語言：法語
年代：未知
簡介： This woman who came from who knows where says she came from france. She was sitting on a bench in neighborhood park, diligently playing a ch ild's recorder. With no money or means of supporting herself, she was advised to teach French. In that way she became a teacher to two Korean women. She likes to walk barefoot on the ground and lie down on rocks. And when she is up to it, she tries to see each instant in a non-verbal way, and to live her life as factually as possible. But life remains as hard as ever. She relies on Makkeolli everyday for a small bit of comfort.
備注：已完結(jié)
類型：劇情片
主演：申錫鎬 樸美姬 金英浩 藝智苑 奇周峯 徐永嬅 金敏喜 趙允熙 河成國
導(dǎo)演：洪常秀
語言：韓語
年代：未知
簡介：英浩被身為醫(yī)生的父親召見，發(fā)現(xiàn)他正忙著給病人看病，其中一個是著名的演員，于是他不得不等待。他的女朋友Juwon搬到柏林去讀書，英浩為了給她一個驚喜，出現(xiàn)在這個城市。Juwon通過母親在一個藝術(shù)家那里找到了住處，他的美貌讓她驚懼。一段時間后，英浩和他的母親一起去吃午飯，母親想給他介紹一個同事，正好就是英浩在父親的診所遇到的那個人。英浩讓朋友貞秀陪他一起去，午飯后他們?nèi)チ撕＿?。英浩睡著了，夢見了Juwon。醒來后，他冒著嚴(yán)寒去游泳，貞秀在一旁看著。
備注：已完結(jié)
類型：愛情片
導(dǎo)演：金泰陽
語言：韓語
年代：未知
簡介：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.
