· 2014 · 韩国 · 韩剧
文晸赫,郑有美,盛骏,尹贞伊,尹贤敏 Hyun-Min Yoon,金瑟祺,金惠玉 Hye-ok Kim,安锡焕,李成俊,郑秀英,救援
已过而立之年的美丽女子韩夏天（郑有美 饰）是一名小有成就的家居设计师，数年前她曾有过一个男友姜泰河（文晸赫 饰），波澜不惊长达五年的爱情长跑似乎耗尽了他们所有的激情，最终这段感情无疾而终。偶然的一天，夏天在和现任男友南河镇（盛骏 饰）争执时意外重逢泰河。接连几次会面，旧日的回忆瞬间复苏，而原本以为不会再有的眷恋仿佛也被重新注入了生命的气息。 两个男人，一个女子，即便是大人又如何？在爱情面前依然如懵懂呆呆的孩童，他们兜兜转转，你追我赶，自以为懂得爱情的含义，又何曾掌握一丝主动，终归成为了爱情的奴仆。遍体鳞伤，在所不惜……
· 2015 · 泰国 · 泰剧
普提查·克瑟辛,Lily,Pansirithanachote,齐纳吾·英塔拉库辛,Malinee,Adelaide,Coates,(Mali),Airin,Yoogthatat
贡坡（普提查·克瑟辛 Put Puttichai 饰）怎么也没有想到，自己的父亲会在临终前更改遗嘱，将巨额的遗产留给了一个名叫楠能（Lily Pansirithanachote 饰）的陌生少女。愤怒的贡坡决心亲手夺回本该属于他的东西，无论使用怎样的手段。 贡坡向楠能展开了热情的攻势，只要楠能能够成为她的妻子，那么贡坡就能够名正言顺的收回她那一份财产。然而，楠能和贡坡见过的大多数女孩不同，她是如此的纯洁，正直和善良。最终，楠能还是被贡坡吸引了，没过多久，两人决心步入婚礼的殿堂，就在这个节骨眼上，楠能的母亲发现了贡坡的阴谋，楠能的心碎了。直到这时，贡坡才发现，自己早已经真的爱上了楠能。
· 2018 · 泰国 · 泰剧
霍嘉丝·芝华顾,达尔姆泰·普兰西普,齐纳吾·英塔拉库辛,Hongyok,Chansakorn,Pharunyoo,Rojanawuttitham,Namo,Tongkumner,吉拉華·瓦奇拉薩朗帕特,Thanachat,Tullayachat,Pasut,Baanyaem,因泰拉·贾龙珀拉,萨瓦特·博拉娜波拉特,卡黎莎·素帕琳格特,丽·柏蒂塔
凌晨三点之曼谷鬼故事是由一部电影和一个10集连续剧组成，电影部分分为三个小故事分别为：高速公路，一夜情以及电视直销，十集连续剧分别为：DJ，护士，小偷，画家等组成，每集时长大约为45分钟。主要讲述的是在凌晨3点一天中最为恐怖的时段，人类被鬼、恶魔、凶灵不断缠身的恐怖故事。
· 2012 · 韩国 · 剧情片
苏志燮,李美妍,郭度沅,金桐俊,李载允,权信焕,李璟荣,Kwak,Byeong-Gyoo
看似平凡的五金制造公司其实是一所铜金属一样冰冷无情的杀人公司。池炯道(苏志燮 饰)虽然整日西服革履，却是该公司业绩卓人的职业杀手。他为公司供职十年，没有一次失手，早已磨练出冷血气质和杀人不眨眼的狠心。但遇到来公司“打工”的新人罗勋(金东俊 饰)时，他突然看到了自己当年的影子。在和罗勋一起执行任务时，炯道有了片刻的恍惚。通过和罗勋的家人交流，他越来越感到亲情的温暖，更在遇到心爱的女人刘美妍(李美妍 饰)时，他的职业敏感发生了变化。在执行一次任务时，因犹豫而导致任务失败，这也让炯道第一次萌生退意，但事情远没有他想象的那样简单。一天之内，他从公司最有前途的职员变为公司的敌人，遭到原同事们追杀的“目标”……
· 1949 · 韩国 · 剧情片
Choi,Eun-Hee,,Byeon,Ki-Jong,,Yoo,Min,,Kim,Seon-Young,,Seok,Keum-Seong,,Nam,Seung-Min
Synopsis Do-seong (Yoo Min) is a child monk who lives at a small mountain temple with the head monk (Byeon Ki-jong), learning the teachings of Buddha. He becomes attached to a young widow (Choi Eun-hee) who comes to pray at the temple, and the childless widow entreats the head monk to let her raise Do-seong as her own son. Conflict ensues when Do-seong's real mother (Kim Seon-young) appears, but she leaves the temple for the sake of her son's future. On the day the widow is to take the child down from the mountain, the head monk discovers that Do-seong has killed a bird by ensnaringit in a trap and decides not to let the boy go into the secular world. When Do-seong finds out that his real mother has been to the temple, he sets out to find her. Notes A film that has garnered recognition for its cinematography and direction by eliminating sentimentality and unaffectedly capturing the quiet life of a mountain temple. A Hometown in Heart demonstrates the camera technique and directorial skill of movies that appeared after the liberation of Korea. A Hometown in Heart, adapted from playwright Ham Se-deok's A Little Monk (Dong-seung), was hailed upon its release as a masterpiece that marked a new pinnacle in Korean moviemaking after the liberation. Eschewing new-school sentimentality to quietly express a boy's longing for maternal love, the film unfolds the everyday lives of three generationsthe head monk, a young monk, and a little child monkagainst the backdrop of a quiet temple in the mountains. The long shots utilized by director of cinematography Han Hyung-mo to capture the beautiful scenery of the mountain temple from a distance received great critical acclaim at the time. Also, each of the film's characters is convincingly portrayed through the skillful direction of Yoon Yong-kyu. In particular, the scene which expresses Do-seong's desperate yearning for a mother's love and his birth mother's past visit to the temple by combining them into a dream sequence reveals deep consideration for articulating story and emotion via a compressed visual grammar without tending toward sentimentalism. The movie's final scene, in which Do-seong awakens from his dream and sets off down the path in search of his mother, is both touching and beautiful. The film also features Choi Eun-hee, in the part of the young widow who warmly embraces Do-seong with her love, in one of her first roles. Afterword - Lee Kang-su, writing under the pseudonym of Kwak Il-byeong, first adapted playwright Ham Se-deok's A Little Monk (Dong-seung) into a screenplay, which was then shot for the silver screen with additional embellishments by the director.