ira (Moon So-Ri) is a shy, single woman who runs a small restaurant and tends her plants with love and care. Her life is thrown into mayhem when her brother Hyung-Chul (Uhm Tae-Woong), shows up out of the blue after a five years absence, some of them spent in jail. Hyung-Chul not only settles down at Mira's place but is soon joined by his new wife, Mu-Shin (Ko Du-Shim), a much older woman who smokes like a chimney - and Mira's a non-smoker. As if the house wasn't crowded enough, Mu-Shin's young stepdaughter knocks at Mira's door one day and moves in. Sunkyung (Kong Hyo-Jin) discovers that her mother - with whom she has a terribly difficult relationship - is seriously ill. Unhappy about her life, Sun-Kyung decides to leave the country, but her plan is disrupted by her mother's death and by the presence of Kyung-Suk (Bong Tae-Gyu), her half-brother

During a high school music exam to assess the singing abilities of students, Songju shows off his rapping skills despite the blackboard in the background stating that pop and rap songs are not allowed. The teacher gives him an F on the test without saying anything. In the meantime, on one side of the classroom, Juyeon looks happy, watching Songju rap. He loves hip-hop as much as Songju does although these two come from completely different backgrounds. Songju is a troubled student living in a multi-house home in a less developed area while Juyeon is an exemplary student living in a fancy apartment in a rich village. Despite differences in grade, personality, and background, they decide to form a hip-hop duo called LIMECRIME.

Rival sorcerers in medieval Japan battle over the fate of Kyoto in a lavish but bland adventure.

A man who has been single for a long time, tries a dating application where she found a girl that changed his life forever.

Completing Toshiaki Toyoda’s politically urgent Resurrection Trilogy following Wolf’s Calling and The Day of Destruction, this electrifying short follows a man (Kiyohiko Shibukawa, Lowlife Love) tasked with assisting in the ritual suicide of a samurai (Yosuke Kubozuka, Giri/Haji) who won’t die without condemning the corrupt powers that be.

Hikaru Utada Laughter in the Dark Tour 2018 was Japanese-American singer-songwriter Utada Hikaru's fourth Japanese tour. The 13-date sold-out tour began in Yokohama and ended in Chiba. It was her first concert in Japan in 8 years, and first concert...

Srinivasan, a Malayalam professor with a balding pate is unable to find a suitable woman to marry. After a number of failed attempts, orchestrated by the marriage broker, Srinivasan, persuaded by his friend Rahim, decides to approach women directly. The story of Rahim's marriage with Ameera further encourages Srinivasan in his pursuit of finding love. Srinivasan develops an interest in his colleague, Babitha. As his attempts to court her were proceeding, Babitha takes fancy on the handsome young professor who joins the college. This discourages Srinivasan and he gives up dreams of having a married life. Meanwhile he encounters, a muslim woman Safiya who takes an interest in him. However, it turns out that the woman's interest in him was as a potential client to her company, which markets hairpiece for balding individuals. His family, keen to get him married, arranges a meeting with a woman, Chinnu. He appears at the meeting with hairpiece and is dejected to find that Chinnu is obese. After an embarrassing incident in which his hairpiece comes off, he flees, leaving the hairpiece behind. Chinnu meets him to return his hairpiece and on her way back bumps her scooty on an elderly man. Srinivasan, forced by Rahim, accompanies Chinnu to the hospital. Circumstances lead him to stay overnight at the hospital taking care of the old man. He also accompanies Chinnu to drop the man at his home. This incident paves way for further meetings and she invites him to visit biennale art festival being held in Cochin. As a memoir of a well spent evening, Chinnu takes a selfie with Srinivasan, which she posts on her Facebook page. The post garners plenty of negative comments emphasising Chinnu 's obesity and Srinivasan's balding pate. Disturbed by the comments and on advice of his colleagues, Srinivasan requests Chinnu to delete the picture. She is reluctant to delete the post and asks him to reconsider. This infuriates him further, and he insists on deleting the picture and puts a stop to further contacts with her. Following the incident, a grief stricken Chinnu uploads a live video on Facebook. In her video she questions the society's mind set towards obese individuals and declares that she is comfortable in her own skin. She also accused the society of endangering her relationship with people who stand beside her. On his visit to Rahim's house,Srinivasan is taken aback when he realises Ameera is mute by birth. He repents his actions and on advice of his brother decides to apologise to Chinnu. Srinivasan finds her in a cancer centre where she was a part of 'donate your hair' campaign. He looks at her and complements her new hair style. Together they walk towards a new beginning.

There are possibly two immediate statements that can be made about Filipino director Lav Diaz' film Batang West Side, which recently screened in competition at the 15th Singapore International Film Festival, and went on to win Best Film at the festival's Silver Screen Awards. Firstly, its five-hour duration demonstrates an intriguing exercise in a new aesthetics for cinema in our region, and not merely in the Philippines. Secondly, the film is a subtle intersection of personal memory and history. The narrative seems to suggest that for a nation to confront how it has been complicit in creating its history, its people need to confront their collective past. If this is in many ways at the core of Diaz' film, then it presents urgent questions to both Filipinos and those of us who live elsewhere in Southeast Asia. It certainly begins to ask us how we perceive our collective identity and what we know of our history.