Hae-Gwan's (Lee Sung-Min) daughter Yoo-Joo (Chae Soo-Bin) is missing. People around him tell him that his daughter died in the fire that took place at a subway station in Daegu, but Hae-Gwan refuses to believe she is dead. To find Yoo-Joo, he goes everywhere and anywhere. One day, he receives a phone call that the caller saw Yoo-Joo on an island. Hae-Gwan goes to that island, but he can't find her there. At night, Hae-Gwan sits on rocks by the sea. He sees a light fall into the ocean and he is then swept by big waves. Hae-Gwan then finds himself on the beach. He sees something unusual and first believes it is a landmine. It turns out it is actually an AI satellite robot which saves every conversation made on a phone. Hae-Gwan thinks he can find his daughter with the help of the robot. He names the robot Sori ("Voice").

Yoshimi has recently divorced and is hoping that the family court will award her custody of her six-year-old daughter, Ikuku.The only flat she can find for them is in a run-down apartment building.On the roof, Ikuku discovers a little red handbag containing children’s toys. Yoshimi hands the bag in to the caretaker but, the next day, the bag pops up again at the very same spot. The flat flat above theirs is locked and appears to be empty;in spite of this, they can hear the sound of loud footsteps and children running about. Two years previously,Mitsuko Kawai disappeared without a trace. This woman worked in the same nursery school that Ikuku used to attend and always carried a little red bag over her shoulder. However, this is only the first in a whole series of mysterious happenings which threaten Yoshimi and her daughter, for the house har-bours yet more terrifying horrors . .

A killing spree takes place in a northern China's hospital, There is an old hospital building where something supernatural is taking place in and around a seemingly claustrophobic lift, best to watch your back when entering the Lift to Hell.an old elevator goes to the 18th floor - underground.

14-years-old Midori, who doesn't have a family, is picked by the Aka Neko circus troupe. Wanda Masamitsu has supernatural powers and he joins the same circus troupe. Midori has an affinity for Wanda, but she is afraid of him. Wanda gets members of the circus troupe to follow him using his supernatural powers and even commits murder.

1940, Kawamoto Akiko lives in Hiroshima with her father and mother, Genkichi and Shizuko, as well as her two younger brothers. Akiko loves playing her favorite piano. As the war situation worsens, she is busy helping out the war efforts. On the morning of August 6, 1945, she disobeys her father and heads into the center of town for work. In Hiroshima 75 years later, her favorite piano remains, restored and playable following it's survival of the atomic bombing.

Following the collapse of his clan, unemployed samurai Hanshiro Tsugumo (Tatsuya Nakadai) arrives at the manor of Lord Iyi, begging to commit ritual suicide on his property. Iyi's clansmen, believing the desperate ronin is merely angling for charity, try to force him to eviscerate himself—but they have underestimated his honor and his past. Winner of the 1963 Cannes Film Festival's Special Jury Prize, Masaki Kobayashi's Harakiri is a scathing denouncement of feudal authority and hypocrisy. Part Review from Film Reference http://www.filmreference.com/Films-Se-Sno/Seppuku.html The recurrent image in Seppuku is of Tsugumo in his black robes (having refused the white ones appropriate to the ritual suicide), seated cross-legged on the white harakiri mat in the center of the courtyard, surrounded by the massed spears of the Iyi warriors, and speaking in calm, unhurried tones. Around this image of charged stillness, the action of the film proceeds through visual compositions of intense lyrical beauty: most notably in the duel between Tsugumo and Omadaka, finest of the Iyi swordsmen, breathtakingly staged as a formal ballet of stylized, sweeping gestures amid long wind-tossed grass. Kobayashi's coolly reticent camera perfectly matches the rhythms of his studied narrative, supported by Toru Takemitsu's evocative score and, in the central role, a performance of epic stature from Tatsuya Nakadai. My Opinion In my opinion this film is a masterpiece and equally as good as any Kurosawa film. I really cant praise this film enough, if you only see one Japanese classic by a master director try this one.

A story of the people that work at Hotel Emros around New Year's and the guest that stay there.

The hotel manager who does her job well, but she is not very confident when it comes about her personal life. The hotel's CEO is a young man with an obsession over even numbers. The hotel's staff includes a young woman, new employee, who begins work as a room maid and having put aside her dream of becoming a musical actress, and a female door porter.

The guests includes a young man, who came to the hotel to get a job. For 5 years, he prepared for the exam to become a public officer, but failed the exam. A singer-songwriter / radio DJ is quite popular now, but he went through difficult times as an unpopular singer-songwriter. A manager works for a popular artist. He and the artist went through hard times, but his client has finally found success. A radio DJ and jazz pianist who are now preparing for their wedding. A plastic surgeon sits in the hotel lounge every Saturday, waiting for his fateful love. A businessman who returns to South Korea to attend his daughter's wedding. A fortune-teller who often visits the hotel to meet with his customers. A high school student swimmer and a high school student figure skater who started liking each other.