Lee Hwan

Set in the late 1920s, The Age of Shadows follows the cat-and-mouse game that unfolds between a group of resistance fighters trying to bring in explosives from Shanghai to destroy key Japanese facilities in Seoul, and Japanese agents trying to stop them.

In Japanese-occupied Korea, three freedom fighters are assigned a mission to assassinate a genocidal military leader and his top collaborator. But the plan goes completely awry amidst double-crossings, counter-assassinations, and a shocking revelation about one of the assassins' past.

Mi-sun and Do-kyung might be used to struggling in the most dangerous part of Seoul's Gangnam district, but that doesn't mean they've settled into it. With no one but each other to rely on, the two friends grind away to save the money needed to leave their dangerous lifestyles behind. But just as "retirement" comes within reach, the world betrays them, shattering their hopes. On the edge of a dead end, they discover a hidden fortune of dirty cash and gold in Gangnam – and place all their bets on one final high-stakes gamble of a lifetime.

Se-jin, a high school student, becomes pregnant and gets ostracized by her family and school. While wandering the streets, she meets Joo-yeong, an experienced runaway, and tries to get an abortion with Joo-yeong's help.

A romantic comedy which portrays the most beautiful period in the lives of different couples who have just fallen in love.

Sang-hoon is a lowlife gangster, a debt collector exercising thuggish ways to collect his money. The recipient of nothing but anger since his childhood, he expresses himself through violence. When he finally encounters someone who can stand up to him, feisty school-girl Yoon-hee they become unlikely friends.

Hwa-young is an 18-year-old student living alone. Her friends call her "mom" and use her house as their place to hang out, but don't really include her in their clique. Hwa-young pays particular attention to one of the friends, Mi-jeong.

A vengeful refugee-turned-pirate steals nuclear materials to attack and obliterate the Koreas in a Nuclear Typhoon. A top South Korean naval officer is assigned the task to stop his plans and execute him.

Min, a Korean boy, moves to Japan with his father who is a potter. One day at a local shrine, he meets Nanae, a beautiful Japanese girl with stunning eyes who is aspiring to be a painter. Min falls in love at first sight and finds out that Nanae attends the school to which he has just transferred. Their friendship develops fast despite their cultural and language difference. When Min's grandmother falls ill, Min returns to Korea and Nanae is nowhere to be found. Had his true feelings for Nanae not been apparent to her? Why has Nanae disappeared without a word?

Life is tough for Chol-Min - his mother died during labor, forcing him to grow up alonge with his stoic police officer father. However, Chol-Min lives a high-spirited life and roams around town with his own mutt, a half-bred police dog, making friends and enemies along the way.

Sergeant Jeong Cheol-min's squad are in a renovated stock room with no window. The squad members are well known to be a hardworking group until Councellor Hong Yeong-soo comes in and starts causing trouble. Hong Yeong-soo seems to have difficulties adjusting to this environment. Things in the army changes rapidly, Jeong Cheol-min and his crew find themselves under attack perceived as the aggressors.

Having saved enough money for a liposuction, Soo-young is ready to leave her tedious job at a local superstore. However, she is faced with a crisis when her boyfriend runs off with the money and her dishonest act at work comes to light. With no-one to turn to, she resorts to a loan shark she met at the superstore.

An omnibus film produced by Indie Forum. The directors made a short film of about five minutes under the theme of "self-reliance".

A once-emerging writer, Soo-Yeon is now making a living by working as an assistant scriptwriter for a great box-office hit maker, Moh. Despite repeating cheesy stories full of stereotypical characters, Moh wants to constantly believe his film to have something new and to be based on the reality. That makes Moh as well as Soo-Yeon feel exhausted. Soo-Yeon carefully dreams to emancipate characters from story, but she realizes that her dream is only treated as a 'feminine' vanity in reality.