In the peaceful Paju Heyri Art Village, a zombie incident suddenly occurs. For the opening of the Heyri Arts Center, three friends, Jinseon, Hyuna, and Gayeon, decided to face this crisis. And a novice YouTuber and a coffee factory president add it. Director Jang Hyun-sang's new film, Zombie Crush: Hey Lee, is a film about daily life in a tumult by a zombie suddenly appearing one day, and the struggles of a three-woman room to protect the village. Naturally, the confusion and anxiety that the world is experiencing recently comes to mind, but the movie conveys hope to everyone who is passing through this age of chaos in a wacky and pleasant way. It is time and money to remain with Jinseon, who is meticulously caring about the surroundings, but it is time and money to remain with Jinseon, who is the only person in the world. A movie that shows off the charm of an actor.

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

《截稿日》围绕“编剧的困境”展开，通过在一间香港老式冰室内切换不同的叙事视角，勾勒出了香港八十年代中后期真实的社会状况和群像式的人物侧写。编剧家明在面临截稿日的那天，因剧本未完成无法交稿而“不择手段”的想要逃离当下的处境，但又一次次的被困在原地。随着倒计时的进行，不同视角的加入在无形中延长了家明的心理时间，增加了他想要搏命逃离绝境的焦灼感，同时也让故事环环相扣，营造出了一定的悬念。直到最后，家明看似“巧妙”的摆脱了困境，但等待他的仍是宿命般的结局。

想起某人的日常，有时是甜蜜的，有时是痛苦的。那样只能成为现实的日子，总有一天。原恋人的婚礼，男校的老师和学生，迎来心和身体的变化的青春期的青梅竹马。无论对方是谁，无论以什么形式，所有的恋爱和生活方式都有同等的价值。然后，笨拙地想着某个人的日子，总有一天会成为可爱的回忆。温柔守护这样的“谁的恋爱”，温暖描绘的短篇故事集。