Park Chan-wook draws on a disaster that took place in South Korea to ironically criticize the greed of rampant capitalism. In 1995, in Seoul, a huge shopping centre, the Sampung department Store collapsed, killing about 500 people and injuring many others. This tragedy was caused by human negligence. Half a million dollars were offered in indemnity to the victims' relatives, and this triggered a merciless looting made by unscrupulous people. In a morgue where the lifeless body of a girl lies, waiting to be identified, a man and a woman, who introduce themselves as the parents of the victim, are distraught over the loss of the young girl. However, after a moment's hesitation, a morgue employee claims the body of the girl. The grotesque controversy about who is the real "owner" of the corpse and the legitimate beneficiary of the money starts here. Between turn of events and paradoxical punishments of fate, the ending leads to a tragic and ironic conclusion. In black and white, the whole story is set in the cold morgue, where the characters' absurd and pathetic dialogues take place, like a journalist and a police detective who keep on squabbling. Halfway between Hitchcock and Polanski, Judgement reveals all Park's irony about a shabby, ignorant and greedy humanity, that does not hesitate to come to vile compromises for money.

Koey believes happiness is like a bottle of coke, it'll soon become tasteless if you don't enjoy it right away. Simon believes happiness is similar to planting trees. You need to water them everyday, and the true satisfaction comes when they blossom. Willy does not believe in happiness at all. Three lives intersect. Three totally different personalities. Three ways of experiencing life and love.

When all the men in her small town turn into zombies and begin to attack the women, Japanese schoolgirl Sakura (Higarino) finds her life turned upside down. The trauma of witnessing the mass murder of her female friends and family members pushes her toward madness. Having few skills and armed only with her English textbook and a kyūdō bow, she sets out to survive. Having visions of a red-headed boy named Billy (Max MacKenzie), a character from one of her books, drives her toward insanity and she begins to lose her grip on reality. She wanders about, narrowly escaping her own death, until she finds Aoi (Mai Tsujimoto), a woman who is both equipped and mentally ready to kill. But this woman is dangerous and, rather than support, offers violence and more punishment. Seeking the real-life version of Billy, Sakura must decide whether to survive and find the answers or give up and die

There was a legend in our village. "A child disappears from the village once in 100 years." Winter of the second year of high school. We were friends with a seasonal transfer student from Tokyo. Youth 's days spent playing together with silly things. Then one day our friends disappeared. The existence of the legend crosses our minds. And then one more person disappeared. You will see friendship, romance, fear, and courage that only existed at that time that day. A mysterious transfer student and the legend of the village, the secret of a hidden fellow, and who is the culprit!

When social unrest plagues a Kingdom in ancient China, the Imperial Court collects stockpiles of gold from local governments to expand the royal army. However, the gold is robbed while in transport. In a desperate move to retrieve the stolen treasure, elite royal guards are sent on a mission to go after the gold but soon find out they are not the only ones in pursuit of it.

Disappointed by the news that the object of her affection is getting married, Takako (Kikuchi Akiko) quits her job suddenly. She soon receives an offer from her uncle Satoru, who asks for her to come help run his bookstore in Jinbocho; a district of Tokyo with a high concentration of book stores, publishing companies, and distribution warehouses. Thus begins her everyday life at Morisaki Bookstore, where she absorbs the unique atmosphere and meets various quirky customers. Takako hadn’t read many novels in her life, but she finds herself being gradually drawn into the world of second-hand books. As summer turns to fall and winter in Jinbocho, Takako experiences personal growth through introspection and her newfound love of books.

Staged across three distinct time periods with the bulk of the story unfolding in the post-war disorder of 1948, By a Man's Face Shall You Know Him is an early attempt at dramatising tensions between Japanese and zainichi Korean residents sharing an uneasy existence within the same living space. The film opens 8 years after the main action, introducing the character of Amamiya (Ando), a doctor at a rundown hospital who has just served an 8-year sentence for murder. When a man (Nakatani) is brought into the hospital fatally wounded after being hit by a car, Amamiya initially refuses to operate, seeing the case as hopeless. But after he sees the victim, whose given name is Sai, and recognises him as a private who fought under him under the Japanese name of Shibata in Okinawa during the war, he has a change of heart. Amamiya and Sai, however, have a deeper history. During the subsequent occupation period, the town marketplace for which Amamiya acts in the capacity of a landlord sees itself falling prey to the demands of a powerful group of Korean mobsters. With the Japanese locals weary and debilitated after their defeat, the gangsters cause regular havoc and threaten to take over this heart of the community. Amamiya initially remains unwilling to get involved in this local struggle, having seen too much bloodshed during the war. But when his hot-headed brother Shunji (Itami, later the director of such internationally popular hits as Tampopo and A Taxing Woman) courts danger in the form of a young Japanese-born Korean girl Li Keishun (Mari), he finds himself unable to remain detached indefinitely.

On his request, the sensitive sister of a real estate agent visits a house he intends to put on sell, only to cross paths with its resident curse.