Woo Sang is a national swimmer who's always pursuing the number one spot. Won Il is a swimming prodigy who stopped participating in the sport, and now wants to make a comeback. Not only do they become rivals, but they also fall for the same girl, Jung Eun, an aspiring musician who is their childhood friend. The three lifelong friends suddenly find themselves having to juggle love, friendship, and competition, as they undergo the rite of passage of growing up.

Everyone has their own secrets. Secrets can help people succeed and even fall in love; but secrets can also destroy people. Secrets can sometimes make us happy, worried, or even blind us to reality. This drama is about secrets. It is an exploration into the trials and tribulations of people who live with secrets. These secrets drive the four characters desire to find love and exact 

It is Areum’s first day of work at a small publisher. Her boss Bongwan loved and recently broke up with the woman who previously worked there. Today too, the married Bongwan leaves home in the dark morning and sets off...

A timid scientist named Michio who meets his own doppelganger. He is immediately terrified, having heard that when this happens you die. The doppelganger’s personality is the complete opposite of Michio’s, but he slowly drives Michio to be more impulsive and evil as his life quickly spins out of control.

Kang Dae-Oh (Kim In-Kwon) is a Chinese food deliveryman. He delivers food daily to to students at a women's dormitory at a nearby university. Kang Dae-Oh then falls in love at first sight with a student named Seo Ye-Rin (You Da-In), an activist in the student movement. To impress her, Kang Dae-Ho pretends to be part of the student political movement as well. This gets Kang Dae-Oh involved in the takeover of the U.S. Cultural Center in Seoul, South Korea ...

The film tells that Meng Lingshu, who was born in the matchmaker family, was a matchmaker for the matchmaker during the day, and at night he turned into a chivalrous "night cat". Because she was framed as a murderer in...

The 25-year-old love story of a couple is told through the lens of their spunky teenage daughter who is diagnosed with pulmonary fibrosis.

This digital featurette, not quite a companion piece to Tropical Malady but certainly related to it, shows Joe operating at the height of his formalist powers. One of the things I’ve valued about Weerasethakul’s work since Mysterious Object at Noon is his commitment to exploring the traditions of avant-garde cinema while taking those idioms into uncharted territory. While some works by Joe have displayed an interest in bending the strategies of Andy Warhol and Bruce Baillie to the needs of Thai folklore and narrative gamesmanship, Worldly Desires takes a more structural approach. However this piece bears little resemblance to structural film as we usually think of it; if there are specific touchstones for Worldly Desires in film history, they would be those “other” structuralists, so wonky and off the beaten track as to thwart easy categorization. Like Morgan Fisher’s early film projects, Worldly Desires is a documentation of the filmmaking process. Within a single expansive jungle location, portions of a Thai soap opera are being filmed by day, and a music video is being made by night.We watch at a significant remove, behind the camera and lighting crews. Multiple views display random bits of business on the periphery, like the craft services table or a playback monitor. However, the stringent day / night rhythmic structure breaks down in the end, the night song (about a woman wondering if she’ll be as lucky in love as her mom was — an Electra Complex with a disco beat) eventually bleeding into the daytime shoot. But more significantly, the relatively austere TV production, whose melodramatic dialogue is mostly heard in disconnected snippets, is contrapuntally offset by the swelling musical numbers. They break up the video, with the unexpected jolt of pure pleasure. Although these sequences recall the musical interludes in certain of Tsai Ming-liang’s films, they’re shot in the mode of early Hou Hsiao-hsien, dancing girls reduced to tiny figures in a wide expanse, itself engulfed within an intractable master-shot. The rigor / comedy handoff recalls aspects of Owen Land’s work, but perhaps more importantly, Joe’s visual and conceptual approach displays a sensitivity to the unique qualities of the jungle landscape, a willingness to let the “location” become the subject of the piece. Worldly Desires is a landscape film, one that brings that most mythologically burdened aspect of Tropical Malady — its deep, dark thicket of the soul — and allows it to grow wild and overtake the image.