同人サークル「あせろら」のPCゲーム、 「魔導士ティアと不思議な大図書館〜Hな鑑定と恥療で世界を救う淫乱魔導士〜」がモーションアニメ化！！ 魔法が当たり前のように普及する世界でのおはなし。 偉大なる魔導士の末裔である双子「ティア」と「ルミエール」は、 辺境の街アルメリアで自ら立ち上げた診療所を営んでいた。  いつものように診療所での仕事をこなしつつ、 双子で仲良くご飯を食べている時、地下から異音が。 地下は先祖が過去に使用した魔導書を保管している書庫。 幽霊かと思い、おそるおそる様子を見に行く双子だが、 奥には妖しく光る封印された魔導書があった。 ティアがその魔導書に触れようとすると、 張られていた封印が崩壊して、本が開いてしまう。  封印が解かれた魔導書が勝手に開き、 中から妖しい瘴気と共に淫魔イレーヌが出現。 双子はなすすべなく敗北し、処女を奪われた挙句に エッチな刻印を刻まれてしまう。 そしてルミエールは魔導書の中へ連れ去られてしまった。  「貴女が無事妹ちゃんを見つけられたら返してあげるわ。 ただし、貴女がセックスをしないでいたら、 妹ちゃんには酷い目にあってもらうけどね……ふふふっ♪」  果たしてティアは快楽に溺れることなく、 大切な妹を救い出せるのか……

本片改编自玉岛Non的人气漫画，讲述了容易害羞但工作认真的消防员蛯原恭介与孤独的女高中生佐佐木萌衣之间笨拙的恋爱故事。

車東錫在出國留學前一個月認識並愛上金智妍，但是媽媽不同意讓他們一起出國，車與金約定六個月後回來，並準備求婚，卻在求婚當天遲遲不見金智妍蹤影而黯然出國。六個月後，車東錫回來，發現金智妍所住的社區即將拆遷...

警察担任黯夜守护者，守护着这个城市，亦透过不同案件，揭示案中人背后的故事，探索社会阴暗一面。除了案中受害者，陈展鹏、陈炜、陈敏之等所演的角色也是有故事的人，以往的遭遇影响着生活，每个选择亦影响将来的人...

影片根据张康明作家所著的同名小说改编，讲述20代后半的主人公桂娜（高我星饰）抛下工作、家人、男朋友，为了寻找自己的幸福前往新西兰的故事。桂娜觉得“讨厌韩国”，“无法在这里生活下去了”，因此决心移民。载仁（朱综赫饰）为了获得永久居住权而来到新西兰留学，之后和桂娜一起在澳大利亚相互依靠着生活，最终发展为恋人。

主人公柏木和华作为图书馆的管理员，被自己最喜欢的书包围着，并且过着充实的每一天。某天在高中时突然亲吻和华的神奈忍出现在面前，那个接吻是什么意思，到现在还没有答案的和华不知为何和忍开始同居……

看護英理在回家的夜路上突遭陌生男子襲擊，被路過的順一解圍獲救，英理與順一也順勢開始交往同居。某日，順一因為不滿意英理煮的晚餐，性情突然大變，英理也遭受始料未及的對待……。

暂无剧情简介

老把头的遗孀翠环深深爱着家里的帮工石柱，石柱却与俊俏年轻的姑娘英子相爱。村里采摘的季节就要临近，石柱每天苦练绝技，到了采摘的时节，石柱果然在陡峭的石柱子上采到了珍贵的“夫妻参”，为了争夺“夫妻参”，八条好汉献出了生命，老人们说这是石柱挖出了老祖宗，触犯了山神的缘故。人们于是将石柱判处绑山，让厄运将在石柱的头上，英子与他共生死。善良的翠环将山中奄奄一息的石柱和英子救出，她久久望着他们离去的背影。

[서로를굳게사랑한다고믿는철수와영희는3년간의열애끝에성대한결혼식을올리고꿈같은신혼생활을시작한다.그러나둘이함께하는하루하루는생각과같지않다.결국사소한일들로티격태격하던이들은결혼의회의를느끼기시작하는데,때마침아직신혼의때도벗지않은철수가다른여자에게한눈을파는사건이생긴다.영희는응당한벌로이혼을요구하고,이들은한치의주저함이없이갈라선다.그러나친구부부의의도된계획으로같은연립주택의아래층과윗층에살게된영희와철수.철수는자신의속박에서벗어난자유인이라며흡족해하고,영희는연하의동료노진국의프로포즈를받는다.그러나영희는자신을관념적으로만사랑하는노진국을거절한다.그러던어느날영...]

A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.    A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and  "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.    Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.    The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.