Gwang-Ho (Park Shin-Yang) is the trusted right hand man for a powerful crime boss. His boss trusts Gwang-Ho and he is loved by his men. One night, his rival in the crime group Tae-Joo (Kim Jung-Tae) attempts to take him out with a knife. As Tae-Joo lunges forward with the long blade knife, Gwang-Ho turns around and grabs the approaching knife blade his hand. Because of this, his fate line on his palm is changed.

This is the re-air Version from April 10th 2011 Kanna (Mana Ashida) attends kindergarten in central Tokyo. Her friend was been absent in school for several days. Worried about her friend, Kanna gathers fellow classmates Hiroshitake Taniguchi (Tomoya Hashimoto), Takujitsu Uehara (Ruiki Sato), Kotomi Mochida (Miyu Honda) and Shunyuu Horikawa (Hiroyuki Kuroda) and they take a trip to out to Takao Station in western Tokyo hoping to find their friend. A pact is made before they sneak out of school that no matter what happens they won't cry ...

Hong Kong, 1996. Wang Cui Ying was held hostage by robbers at her wedding and witnessed her husband die under the guns of bandits. Unable to get out of the haze, she now works in an archery hall. On the night of the typhoon, she accidentally stayed in the building, witnessed the same gang of bandits killing people in it. While escaping from them, she accidentally stumbles upon a blind man, Nan Ge. From that moment, they both try to escape from the bandits, in the building that has turned into a death trap.

(Source: Douban)

The Story of a Man Who Became a Train Operator at the Age of 49

Haruko (Kuriyama Chiaki), a 34-year-old single woman and BL manga artist, realizes she's lived a life doing what she wants without any thought of the future. She's motivated to attempt marriage and begins going to marriage parties in hopes of...

A gay man, Min Soo and a lesbian, Hyo Jin are both promising doctors at a general hospital. The colleagues agree to marry so Hyo Jin can legally adopt a child with her lover of ten years Seo Yeong, and Min Soo can please his parents while maintaining his closeted lifestyle. While secretly living with their respective partners, who move in next door, Min Soo and Hyo Jin appear to be a happy, "normal" couple. They enjoy all the benefits afforded to heterosexual couples and are also able to ward off public scrutiny and parental disapproval. However, Min Soo's intrusive parents begin to get a bit too involved with the couple's life, threatening their scheme.

Set during China's Three Kingdom's era (AD 220–280). The story of a great king and his people, who will be expelled from their homeland and will aspire to claim it. The king, violent and ambitious, of mysterious methods and motives; his general, a visionary who yearns to win the final battle but needs to prepare his plans in secret; the women of the palace, who struggle to find redemption in a world where they have no place; and a commoner called "Lord of all the world", will be the characters around who turn the inexorable forces of this story.

Producer and star of the film Yasuaki Kurata wanted to make a film with a female protagonist which led to an idea about making a vampire film.[1] Kurata hired director Takanori Tsujimoto as it was his first horror film he worked on and Tsujimoto was known for his horror films.[1] Kurata gave Tsujimoto the elements he wanted in the film (vampires, female protagonists and opportunities for extended action fight scenes) and had him build a story around them.[1] Screenwriter Eiichi Yonekawa wrote a script involving two police detectives in Tokywo who are trying to catch the serial killer. Using it as a framework, Tsujimoto added large elements that would involve fake blood.[1] The action scenes in the film were inspired by Hong Kong action cinema. Kurata compared the Hong Kong style to the Japanese style by saying that “Hong Kong films are about over-action, or overdoing it; whereas Japanese action is often too subtle. It doesn’t satisfy the audience in the same way. I prefer Hong Kong style myself, but keep in mind that wire work was not used in Hong Kong until ‘Chinese Ghost Story’ (1987). My production company introduced wire action to Japanese films, about nine years ago, in a film called ‘Yellow Dragon’.”