"The One Hundred" tells the story of a young woman who has just returned from a foreign country. She has to stay at a hotel to quarantine, but then suddenly comes across a monster that can change its shape in a variety of ways, according to the individual that this monster possesses. The concept of the story was inspired by the story of Battambang which was told during the reign of King Rama V.

Karan (Sonu Sood) loves Sneha (Tanushree Dutta), but is too much of an introvert to ever express his feelings to her. Although Karan's feelings are evident to many, he is content in just seeing Sneha smile, and never gathers the...

Xu long due to lack of understanding of the real world, one person alone to find the Pure Land of the soul, so that his junior sister apprentice Chen ex girlfriends instead of their own, accompanied by Qin Na completed trip. After two trips back, Qin Na never want to take inexperienced Zhen grace to become familiar with their own circle of right-hand man, to coincide with the artist's president EASON's birthday party, a lucky coincidence again and dream photographer Lin Hao, media companies Bermuda giants, along with Qin Na indistinct relationship VCs pack into the total coincidence triggered love, affection stories, dreams, war and other elements.

In the 1970s, Korea is under the absolute control of President Park who controls the KCIA, the organization with an edge over any branch of government. The director of KCIA, Kim Gyu Pyung, is the seemingly most prospective second-in-command. In the midst of the reign of fear, a former KCIA director, Park Yong Gak who knows all about the government’s obscure operations, exiles to the U.S. where the investigation of ‘Koreagate’ is underway. As the tension escalates, the stifling political maneuvering by all second-in-command’s unfolds.

This digital featurette, not quite a companion piece to Tropical Malady but certainly related to it, shows Joe operating at the height of his formalist powers. One of the things I’ve valued about Weerasethakul’s work since Mysterious Object at Noon is his commitment to exploring the traditions of avant-garde cinema while taking those idioms into uncharted territory. While some works by Joe have displayed an interest in bending the strategies of Andy Warhol and Bruce Baillie to the needs of Thai folklore and narrative gamesmanship, Worldly Desires takes a more structural approach. However this piece bears little resemblance to structural film as we usually think of it; if there are specific touchstones for Worldly Desires in film history, they would be those “other” structuralists, so wonky and off the beaten track as to thwart easy categorization. Like Morgan Fisher’s early film projects, Worldly Desires is a documentation of the filmmaking process. Within a single expansive jungle location, portions of a Thai soap opera are being filmed by day, and a music video is being made by night.We watch at a significant remove, behind the camera and lighting crews. Multiple views display random bits of business on the periphery, like the craft services table or a playback monitor. However, the stringent day / night rhythmic structure breaks down in the end, the night song (about a woman wondering if she’ll be as lucky in love as her mom was — an Electra Complex with a disco beat) eventually bleeding into the daytime shoot. But more significantly, the relatively austere TV production, whose melodramatic dialogue is mostly heard in disconnected snippets, is contrapuntally offset by the swelling musical numbers. They break up the video, with the unexpected jolt of pure pleasure. Although these sequences recall the musical interludes in certain of Tsai Ming-liang’s films, they’re shot in the mode of early Hou Hsiao-hsien, dancing girls reduced to tiny figures in a wide expanse, itself engulfed within an intractable master-shot. The rigor / comedy handoff recalls aspects of Owen Land’s work, but perhaps more importantly, Joe’s visual and conceptual approach displays a sensitivity to the unique qualities of the jungle landscape, a willingness to let the “location” become the subject of the piece. Worldly Desires is a landscape film, one that brings that most mythologically burdened aspect of Tropical Malady — its deep, dark thicket of the soul — and allows it to grow wild and overtake the image.

Shen Yi Hang, a high school student, has excellent academic performance in school due to his handsome appearance. He is a well-deserved school grass. He has captured countless girls in the school.

Once he met him and met his ordinary female classmate Xia Xuan. She was deeply touched by her kind and excellent. Attracted, in order to get close to Xia Xuan, she used various methods to make herself appear in front of her, and slowly developed her love for her.

During a volunteer service outing, Shen Yi Hang was ready to muster up the courage to express her feelings, but Xia Xuan accidentally had a car accident. , Was seriously injured and was hospitalized. Through this unexpected change, Xia Xuan was completely changed. On the day she was discharged from the hospital, Chen Yue Ze, Shen Yi Hang’s best friend, transferred to the school and met Xia Xuan who had reported to the school. Chen Yue Ze identified Xia Xuan as himself. The pursuing woman constantly creates opportunities to contact Xia Xuan and pull Shen Yi Hang to accompany him, but because of this, Shen Yi Hang also understands Chen Yue Ze's heart, and Shen Yi Hang chooses to hide his feelings in the constant inner struggle.

A web film produced as a continuation of the television series, which focuses on the supporting characters' side stories. "Lovers Across Space" is the second of the "General's Online" series of online movies featuring Liu Xi Yin. In order to defend the Great Song, Liu Xi Yin aroused the Xixia civil strife with beauty and wisdom, and then used the Golden Cup to drink poisonous narcissus grass but did not expect to come to another world. In this world, Liu Xi Yin meets a man named Ye Zhao.

Sing (Stephen Chow) is a mainland China country boy who arrives in Hong Kong to visit his Uncle "Blackie Tat" (Ng Man-Tat). When Sing stays with his uncle and his friends in their apartment, Blackie soon learns of Sing's supernatural ability to see through objects and, later on, his ability to change playing cards by rubbing them. He takes advantage of this and turns Sing into the Dou Seng or the "Saint of Gamblers". After getting into a fight with several alleyway gamblers he meets the lovely Yee-Mong (lit. trans: Beautiful Dream, but euphemistically as wet dream), a henchman for the "King of Gamblers", and becomes infatuated with her. Sing quickly becomes a rival to the King and must win his way through a world competition to prove his skill.