Young (Kim Min-Hee) and Dong-Hee (Lee Min-Ki) work at the same bank. They secretly dated for the past 3 years, but recently decided to end their relationship. Both tell the other that they are fine, but inside they are not. Young's co-worker Son (Ra Mi-Ran) then tells her that she will introduce her to a good guy at dinner later that evening. At the bank worker's dinner get-together, Dong-Hee is also there and feels jealousy. He begins to talk negatively about Young in front of her and the man she just met. Young becomes furious at Dong-Hee and pours beer all over him. A loud confrontation takes place between the former lovers and everybody at the bank now knows they dated. Their bitter breakup turns worse when each decides to go tit for tat. Dong-Hee demands his laptop back and Young mails it back to him, but she first smashes it to several pieces. Dong-Hee responds by mailing back her belongings, including foul smelling food that is now rotten. Adding fuel to the fire, Young logs into his Facebook account and discovers that he is already seeing another girl. Can they live without each other? Can they live with each other? 

Gajirou Honda is a self-centered man who only cares about money and women. When he’s involved in a car accident, he encounters the ghosts of the deceased occupants of the other car, including the driver and three pole dancers. The four ghosts promise him a large sum of money in exchange for his help fulfilling their last wishes, thus allowing their spirits to pass over to the afterlife. The tasks Gajirou is required to complete for the ghosts include pole dancing, wearing a white wedding dress, becoming a heroic firefighter, and making a passionate confession to a high school boy.

A single mother from the village living with her hearing-impaired son in one of the cities of modern China

High school student Erika is sick and tired of her weakness. By chance, Erika begins working at a cabaret night club. She eventually becomes the top lady in the night world and is known by her nickname Kurumi. In the...

Kuryu Kohei is an unconventional prosecutor at the Josai branch of the Tokyo District Public Prosecutors Office. One day Kuryu is asked to take on a case which his colleague, Shibayama, prosecuted. The case looks simple with a confession by the accused, but the accused changes his plea at the first hearing and now claims his innocence.

Kuryu is faced with Gamo Kazuomi, an attorney who prides himself with the highest number of winning acquittals for criminal cases in Japan. While Kuryu is puzzled by the appearance of such a high profile attorney for a relatively minor case without publicity, Gamo steadily drives Kuryu into a corner with his unperturbed and varied tactics.

Meanwhile, Tokyo District Public Prosecutor's Office is conducting the special investigation on the a bribery case of Hanaoka Renzaburo, a major Diet member. Unbeknownst to Kuryu, it turns out that the adjudication of the case holds the key to a bribery case of Hanaoka Renzaburo. Kuryu and Hanaoka had an encounter in the past, but Kuryu concentrates on bringing out the truth of his case and with his legal aide Amamiya.

Among the steady stream of new Chinese movies opening in America, “A Beautiful Life” stands out — rather than an overstuffed, jingoistic historical tale or martial-arts blowout, it’s a contemporary romantic melodrama with a plaintive pop soundtrack that might call to mind “Terms of Endearment,” “The Other Sister” or, most strongly, a Nora Ephron comedy minus most of the laughs. (There’s also a bit of “Memento” thrown in.) It’s no great shakes, but a substantial number of American moviegoers — soft-hearted, slightly masochistic and largely abandoned by Hollywood — would like it if they found their way to it. The first hour, especially, is charming, before the balance shifts from romance to melodrama to, in the final minutes, the kind of maudlin crescendo that Asian audiences are accustomed to. The director, Andrew Lau, gives further proof of his versatility, having already shown that he can make very good gangster movies (“Infernal Affairs”) and so-so kung-fu epics (“Legend of the Fist,” which opened in the United States last month). He practices heroic restraint and delicacy, given the five main characters he’s been handed: one’s blind, one’s autistic, one’s mute, one has early-onset dementia and one’s a healthy, bitter drunk. Mr. Lau is helped by his charismatic stars, Shu Qi and Liu Ye, both of whom are very appealing within the narrow range set for them. Mr. Liu plays an upright cop who’s slowly losing his memory and leaves himself notes to remind him of his daily tasks; Ms. Shu has the Holly Golightly role as a real estate agent trying to strike it rich in Beijing so that she can support her parasitic Hong Kong family. (One not very convincing theme of the film is Beijing incorruptibility versus Hong Kong decadence.) She’s a bit forced and shrill in her drunk scenes, but otherwise she underplays adroitly and flashes some sly humor.

A Shanghai landlord hoping to sell his boarding house and flee to Taiwan before the Communist invasion battles against his tenants, who don't want to be evicted. This neo-realist classic completed just prior to the Communist Revolution was approved for production when the censors were given a false script, while the filmmakers hid the actual screenplay.

In 1930s China, a young woman is sent by her father to marry the leprous owner of a winery. In the nearby red sorghum fields, she falls for one of his servants. When the master dies, she finds herself inheriting the isolated business. ~~ Adapted from the novel “Red Sorghum” (红高粱家族) by Mo Yan (莫言).