A corrupted customs officer, Choi Ik-hyeon, faces losing his job. Then, his life turns around as he meets ganster Choi Hyeong-bae who has connection with the Yakuza. They quickly form a partnetship; Hyeong-bae helps Ik-hyeon set up a business with the money from drug trafficking while Ik-hyeon lobbies for his partner Hyeong-bae. As the government declares war on crime, however, their partnership begins to crack.

Chan Wing Yan, a young police officer, has been sent undercover as a mole in the local mafia. Lau Kin Ming, a young mafia member, infiltrates the police force. Years later, their older counterparts, Chen Wing Yan and Inspector Lau Kin Ming, respectively, race against time to expose the mole within their midst.

Wang Jicai and his wife Shihua have been guarding the small Kashan island on the Chinese border for 32 years.

The Story of a Man Who Became a Train Operator at the Age of 49

Koji Tsuruta, often considered the yakuza genre’s first star, kills it in the savage classic Blood Of Revenge. The story takes place iin Osaka, 1907. Asajiro (played by Tsuruta) must keep his business functioning smooth like cream, keep his late oyabun’s hot-blooded son in check, and deal with his emotions for a beautiful geisha named Hatsue (Junko Fuji). Director Tai Kato skillfully seizes every moment of conflict, and succeeds in displaying rampant blood-gushing.

Vivek is a hacker who troubles girls by hacking their phones and laptop computers. Because of his hacking, Sameera even loses her job. Sameera and Rohan decide to teach Vivek a lesson but Sameera ends up murdering Vivek. However, Vivek's hacking action saves Sameera from the clutches of law. How this happens is shown in the climax.

Mu Zi's parents' old apartment is still there. A bed, an abandoned chair, a window falling off its hinges – the remnants of a relationship that has moved on. Her father has started a new family, her mother has friends abroad; it seems like only Mu Zi cares about this place. In The Cloud in Her Room, she wanders several times through this static past.

In her palpably personal debut film, Chinese filmmaker Zheng Lu Xinyuan follows her 22-year-old protagonist as she returns to Hangzhou, where she was born, for the New Year's celebration. She arranges to meet old friends, makes some new ones and visits her parents, with whom she is mostly on friendly terms. It's like she doesn't really fit in anywhere. Mu Zi is living in limbo: like the apartment, she has stopped, caught between past and future.

Zheng Lu, who shot her film in black-and-white, underlines Mu Zi's alienation through directorial decisions that are at times daring. She combines handheld documentary footage, in which Mu Zi interviews people around her, with more distant camerawork. As a child of separated parents, born at the time of the one child policy and having grown up in a China where everything is changing at breakneck speed, Zheng Lu has made a melancholy, topical film about her generation and the society in which they are growing up. At the same time, it is a universal story about love, relationships, the impossibility of keeping these going and the loneliness this causes.