《超级飞侠游学堂》讲述了乐迪和超级飞侠伙伴们征服中华文明藏宝图的奇趣经历，每一站乐迪和超级飞侠们在帮助他人的过程中学习到一个文明小知识或一个文明好习惯，弘扬中华文明，教导小朋友们培养良好的文明行为。
讲述了准备员警考试的志雄（卞耀汉饰）和勇民（李柱胜饰），加入到了寻找留下了有关因SNS自杀的军人的暴言的“蕾娜”的行列之后，所发生的一系列故事，该片在第19届釜山国际电影节上获得亚洲电影振兴机构奖（NETPAC Award）和韩国电影导演协会奖 第40届首尔独立电影节 上获得观众奖和演员奖（卞耀汉）并参加第13届佛罗伦萨电影节，以及作为2015年多伦多韩国电影节开幕影片。
在城市里，有一种人他们过着隐蔽的生活，他们不是坏人，他们只是暗中保护这座城市安全的小分队——快闪部队。当然，他们的工作要求他们会遇到很多麻烦，这次小分队任务来了——核危机。他们要再次踏上拯救城市的道路，他们会一帆风顺吗？
内向胆怯、无法很好地表达自己的湖谷真奈（岸井雪乃饰），与自由奔放且有些不可思议的卯木堇（滨边美波饰）相遇，两人成为了好朋友。但是，堇独自一人去旅行之后便杳无音讯。堇失踪后的五年，真奈仍然没能接受堇不在的事实。身边的人们都当堇已经死了，但真奈对此强烈抗拒。某一天，真奈从堇 的前男友远野敦（杉野遥亮饰）那里收到了对堇来说十分重要的摄像机，摄像机里储存着真奈和堇一同拥有的回忆，以及堇无人知晓的秘密......真奈为了能与堇再次会面，前往了堇最后去的旅行地......
A father, just out of prison, wants to spend some time with his eleven-year-old son.
小学六年级的航祐和夏芽不仅在同一栋公寓长大，也是彼此最好的朋友。夏日里的某天，他们在即将拆除的公寓玩耍，却突然陷入异象，举目所见，尽是一片汪洋。航祐和朋友们有办法回到原来的世界吗？一场夏日告别之旅就此展开。
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
影片主要讲述了四位从小就认识，感情非常友好的单身女性：莉娜、芝芝、阿强和三妹。莉娜是职场女强人，在四姐妹中总是扮演着解决问题的“大姐”的角色，性格倔强，认为钱可以解决任何问题，是一个标准的“白富美”；芝芝是一个渴望爱情，希望能找到自己梦想中的男友并与之相伴一生的“结婚狂”；阿强酷爱运动，毫无女人味，看似勇敢，面对爱情的时候却格外羞涩；三妹是四姐妹中年纪最小的一个，所以倍受其他三人的宠爱和呵护，但是在爱情来临的时候却十分果断。经历了金钱、男人等重重考验，这四位完全不同的女性，真的可以友谊永固吗？她们之间究竟会爆发出什么极端的事情？
电影《雪暴》讲述了在一座极北的边陲小镇，一伙穷凶极恶、作案手法老到的悍匪为抢夺黄金，打劫运金车，并借助大雪掩盖了所有犯罪痕迹。为了探求真相，警察王康浩暗地里搜集证据，熟悉地形，终于在一场灾难级的暴雪降临时，与谋财害命的悍匪发生了惊心动魄的正面对决……
妇产科医生金麒麟（周一围 饰）和刑警队副队长贾琼花（苗阜 饰）是一对从恋爱到结婚相守八年的夫妇，两人事业上各有所成，生活上相敬如宾，人生可谓顺风顺水。唯一美中不足的是，结婚至今他们始终没能迎来爱情的结晶。因为童年的阴影，琼花对养育孩子这件事颇为抵触。麒麟为此颇为着急，却又不能太过为难老婆，只能在老婆和父母中间敷衍塞责。时间长了，矛盾自然逐渐累积。麒麟的爸妈万般无奈，专门住到儿子家里监督小夫妻俩生孩子，结果反倒让矛盾更为激化。 当琼花尝试着转变想法时，新的问题又让她目瞪口呆。孩子孩子，你何时才能到来？