姜沅入宫选秀，因长相与皇帝白月光姚茉曦极为相似被淑妃针对，淑妃便想要暗中处理掉她。姜沅被淑妃派人差点杀死之际，皇帝出现救了姜沅。原来，皇帝早就知道姚茉曦是有心之人安排的，只是不知道她的目的和背后之人，和姜沅商量之后决定将计就计，把坏人一网打尽。

姜沅入宫选秀，因长相与皇帝白月光姚茉曦极为相似被淑妃针对，淑妃便想要暗中处理掉她。姜沅被淑妃派人差点杀死之际，皇帝出现救了姜沅。原来，皇帝早就知道姚茉曦是有心之人安排的，只是不知道她的目的和背后之人，和姜沅商量之后决定将计就计，把坏人一网打尽。

十八岁、遇到人生最大的对手！　　高中生烷德和父亲、叔叔生活在一起。身高比同龄人矮的他虽然在不幸的家庭环境里长大，是个学习不好的问题学生，但…

"大半夜想吃外卖，我用新账户注册，想领优惠卷，一阵捣鼓后，显示我成为了一个外卖员， 我正要退出重新注册，页面突然弹出一个提示，【可爱炸炸鸡一份，幸福小区405，外卖费1000】1000?!我数了三遍，没错，就是1000元刚要摁退出的手指一动，点了接单，虽然现在已经是晚上十二点了，而且我对幸福小区不太熟悉，那可是一千块的外卖费，就算是客户想吃屎我也要亲手送到他门口。"

三个月前，因为一场车祸，我失明了。父母为了更好地照顾我，我们一家搬家到了离城市很远的郊外。就在昨晚，我奇迹般地恢复了视力。我刚想把这个好消息告诉我的父母，却突然发现床底下有一张揉做一团的纸巾。我这人有很强的洁癖，便把纸巾拿了出来。纸巾上面的话却让我皱起了眉头。不要告诉他们，你能看得见。

More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far. 　　源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang

More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far. 　　源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang

本片为中国传媒大学艺术学部动画与数字艺术学院13级学生毕业作品。

This experimental documentary uses the life stories of a Chinese woman artist to explore alternatives to dominant versions of history. Growing up in China during the Cultural Revolution, she first came to the U.S. to study, and then, after the government crackdown, to live. FLOW's narratives of the Cultural Revolution are constructed from her extremely personal and often satirical points of view. The fragments of her memory are used to undermine the master narrative of history. Yau Ching writes, "An exiled native speaks a language not fully comprehensible to her 'fellow-natives' any more. A part of her is not able to go back any more. Given its politically subversive content, the very fact that this tape can only be made here, when the native is not at home, highlights the limitations of 'home.' Her memory haunts her and blocks her from being assimilated by the dominant American society. She lives in this 'between-world dilemma,' deprived of the privileges of being fully identified either as a native or as a westerner." 　　In Mandarin, Cantonese and English with English subtitles. 　　Producer/Director/Editor: Yau Ching. Camera: Yau Ching, Ellen Pau. 'Butterfly in California' Camera: Robert Harris. On-line Editors: Karen Heyson, Eric Kinke, John Grod. Sound Mix: Karen Heyson. Creative Consultants: Yvonne Rainer, Mary Kelly, Deirdre Boyle. On-line Facilities: Center for New Television, Chicago, Film & Video arts, NY, Electric Film NY. Off-line Facility: Girls make Videos, inc. 　　Ordering & Fees