Same-sex couple Eunsoo and Yewon are living together happily. One day, a terrible traffic accident occurs and Eunsoo is seriously injured and her sister Eunhae dies. Eunsoo is disabled and Eunhae’s daughter Soomin became an orphan. Now Eunsoo and Yewon are in a position to take charge of Soomin. Take Me Home is a film that questions the meaning of a family. Right after the accident, Yewon says, “Are we not family? How can one abandon a family member because of what happened?” Eunsoo responds, “Family? Who acknowledges us as a family?” The three women live together as Yewon wished and they hope to be one family. They seem to be living like a happy (similar) family as they spend daily routines and visit the beach. But, like Eunsoo’s hopeless respond, the norms of the world prevent them from becoming one family. The true virtue of this film is in the ending. Instead of a happy or sad ending, this film, like DO Jonghwan’s poem ‘Ivy’, persistently chooses the road of happiness slowly without rushing even if it takes a detour.
尼克（雅各布·克德恩 Jakob Cedergren 飾）很少回憶過(guò)去，因?yàn)?里存在著的只有痛苦悲劇，然而，回憶卻放過(guò)尼克，它的一次糾纏和卷土重來(lái)讓尼只能通過(guò)酗酒和健身能保持心智的健全。尼克的記憶力，弟弟唯一溫暖的存在，他正是靠著曾經(jīng)的相互持，在得以生存至今如今，這個(gè)溫暖的男卻淪為了一屆毒販，了生活和保留兒子馬（加斯塔夫·芬奇·杰魯夫 Gustav Fischer Kj?rulff 飾）的撫養(yǎng)權(quán)而終日四處波。 受生活所迫尼克和弟弟在很久之分開了，音信全無(wú)，兩人都沒(méi)有想到的是他們的重逢竟然發(fā)生監(jiān)獄里。這次重逢會(huì)來(lái)怎樣的改變？這兩血管里流著相同血液男人能否成為彼此的贖呢?
1919. After fighting in WWI as a sniper Travis, now a Policeman in the vast empty spaces of northern Australia, loses control of an operation that results in the massacre of an Indigenous tribe. After his superiors insist on burying the truth Travis leaves in disgust, only to be forced back twelve years later to hunt down Baywara, an Aboriginal warrior whose attacks on new-settlers are causing havoc. When Travis recruits mission-raised Gutjuk, the only known massacre-survivor as his Tracker, the truth of the past is revealed and Travis becomes the hunted.
