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Yu Jin is a single girl with lots of boyfriends. One morning, she wakes up and finds herself in a hotel room with a faint memory of having slept with a man in the previous night. She had a wild party and got drunk to the point where she couldn't tell whom she was with, so she makes a list of several potential suspects. Cheol Jin, who has been one of her best friends since college, is among them, but she's convinced that it couldn't be him because he's too shy for anything like that.

Choushinsei Flashman theatrical short.

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.

A violent fire one evening kills a husband and wife couple and burns their Kazusaya rice shop to ashes. Their daughter Sachi manages to make it out alive, but she claims the fire was set by henchmen from the rival Harimaya shop who abducted her sister. After policeman Watanabe Shogoro hears her story, he begins investigating the case, but desperate to avenge her parents' deaths, Sachi later enlists the aid of a mysterious woman who offers to kill Harimaya for a price. Watanabe soon discovers that there is more to this case than meets the eye.

A human comedy about five brothers known for their disagreements, in a village called Duksoori... Soo Kyo, Dong Soo, Soo Geun, Hyun Jung, and the youngest sibling become a family through their parent’s second marriage. The five siblings get involved in an unexpected case and come to love each other as family.

Within a seemingly peaceful village, a plague of mysterious & violent deaths suddenly take place. The police conclude poisonous wild mushrooms are the cause of the deaths. Police Officer Jong-Goo (Kwak Do-Won) hears a rumor from a coworker about a mysterious Japanese man (Jun Kunimura) living nearby. The rumor fingers the Japanese man as the man causing these mysterious & violent deaths. Jong-Goo, while on duty, meets Moo-Myeong (Chun Woo-Hee). She tells Jong-Goo that she saw the Japanese man where the last deaths took place. Jong-Goo's doubts about the man begin to waver. Jong-Goo's daughter Hyo-Jin then comes down with the crazed symptoms similar to what the other villagers had before their deaths. Jong-Goo becomes desperate. He heads out into the mountains to find the old Japanese man's home. Meanwhile, his mother-in-law calls in a shaman, Il-Gwang (Hwang Jung-Min), to perform an exorcism on Hyo-Jin. Death lingers in the air.

A BJ who has experienced a dead, abandoned building disappears during a live broadcast. Streamers Mo Mo, Joon, Ta Koo, Jae Min, and Da Seul gathered in the abandoned building to find out that his broadcast was the masterpiece.

Stepping into a place they shouldn't have recklessly entered, they face a fear that is not the truth and can never escape.