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关东黑帮立花一家的第二代首领明美（梶芽衣子 饰）与刚田组组长（加原武门 饰）抗争，纷乱中误伤刚田之妹蓝子（ホキ徳田 饰）的眼睛，蓝子疼爱的黑猫立时上前舔噬伤眼。蓝子的痛苦和仇恨汇聚成对立花明美的诅咒。三年后，明美期满出狱，派别抗争继续。明美却发现手下亲信被夺去双目、离奇杀害。失明后的蓝子将背部纹有青龙图案的立花一家成员定为目标，誓要杀光仇敌。而明美则不得不与部下联合，一面与敌对帮派周旋，一面对抗来自盲女的恐怖诅咒……

万世高中跆拳道部拥有辉煌历史，但眼下却面临选手能力低弱、斗志涣散，主教练更因斗殴事件选择离去，跆拳道部即将解体，校长只得出面以退学要挟挑起事端的校内不良团伙成员永客（金烔完 饰）、俊大等人替校出赛。靠教授儿童度日的“失败者”宋忠昆教练应邀带队，队伍终于成形。然而这支队伍注定麻烦不断：不良分子们无心训练之余同队长闵奎（玄彬 饰）不时发生摩擦，斗殴事件也始终围绕着跆拳道部，在预选赛上使用下流手段赢得比赛……宋教练与美女助理劝服队员们回归赛场，这些昔日的不良分子也逐渐发现各自的奋斗理由，为尊严也好，为爱情也罢，这一切将在与宿敌海江高中的对决中得以解决。本片是韩国人气组合“神话”成员金烔完的银幕处女作。

平清盛离开都城前往严岛，一离开都城便发生了平康之战，一夜间，清盛的所有住所都遭到了反清盛派的袭击。平康乘机救出了众人。远藤武士盛远将渡边渡妻子加娑平发的送到了哥哥盛忠的公馆。盛远深受加娑的美貌所吸引。首都终于被反清派所占领，清盛派的大臣也下了法性寺的山门地牢，在这种情况下，盛远急速来到严岛，报告了清盛。清盛率军反攻一举平息了暴乱。再次见到加娑的盛远更难忘旧情。论功行赏时他希望得到加娑，遭到清盛的讥笑。原来加娑是清盛侍从渡边渡的妻子。发了疯的盛远，对加娑和婶母进行威胁。加娑深知如不顺从，丈夫渡边渡将会有生命危险，于是假意让盛远去杀自己的丈夫，而自己却假扮成渡，结果被盛远所杀。几天后，盛远剃光了头，穿着僧衣，离家出走……

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.