简介：1화-하고싶어 안달난 옆집여자 콘텍트 렌즈를 떨어뜨렸다며 함께 찾아달라며 집으로 나를 이끄는 쎅한 이웃집 아줌마. 따라간 그녀의 집에서 보게된 아줌마의 팬티에 이성의 끈이 풀려버린다 2화-가르쳐주는 친구 엄마 육덕 진 친구의 엄마를 흠모하던 유스케. 어느 날 우연히 그녀의 자위현장을 엿보게 되고, '혼'내달라며 조르는데
简介：A photographer returns to his parental home because his mother is seriously ill. The confrontation with his past leads to panic in a surreal, stylised psychological drama.
简介：A man chases a woman. She runs by and then meets another man. The film shows desolate sights. The director’s intention to show indescribable emotions comes up in the frames.
简介："그 둘의 소문은 그 이상 이였다!"관아에 쫓기는 몸이 된 어우동은 한 마을에 숨어들게 되고 그의 옆집에는 소문이 자자한 조선 최고의 대물 변강쇠가 살고 있다. 변강쇠와 어우동은 서로의 정체를 모른 채 지내게 되고 그러던 어느 날 최고의 대물과 최고의 색녀가 하루 밤을 보내게 되는데…
简介：Michael Hanake meets the Blair Witch Project in Kim Gok's Exhausted, a vicious kick in the pants to everyone in the audience, all in the name of "style." A man meets a mute woman, and as any reasonable person would do in such a situation, makes her his prostitute. But the pimping is the least of our problems. As we get exhausted by the grainy faux-16mm camerawork, the film gets increasingly deranged. The closest thing we get to a sympathetic character is the pimp, simply because he's got too much self-respect to fuck a mute whore. Everyone else is either a gory mess, or a gory mess in disguise. Even the prostitute, which even a thug like Lars von Trier would make likeable, comes off as a delirious scary woman whose shrieks strike like blows to the jugular.Kim Gok has seemingly abandoned the Marxist critiques of his short films, going instead for mindless brutality which culminates in an endless bloody freak-show involving, among other things, a pair of scissors going where pairs of scissors should not go. In the middle of the bloodbath, we get an extended long take of the beaten prostitute's near-dead face, but it does not elicit sympathy or pity. In fact, images of the victim only make us shy away in shock. (Indeed, the extended sequence led to continuous walk-outs during the Pusan screening.) The long take invites us to stare, but it assumes we're as sadistic as the victimizer (and the film) is. Meanwhile the sound-effects (mostly a rumbling bassline that shakes the theater) pulsates with pure wickedness. With Hanake, shock creates reflection, which asks that we be critical. Here, we only want to escape. I suppose Exhausted has some virtues; the shots of drilling machines and factories provide a mesmerizing phallic backdrop to the pimp and prostitute's pursuits. But everything else hurts too much. At least Kim Ki-duk lets us breathe. Exhausted makes Bad Guy look like Lady and the Tramp. (asiaarts.ucla.edu)