Truman Capote's semi-autobiographical first novel about coming of age in the Deep South during the 1930s centers on 13-year-old Joel Sansom (David Speck), who reunites with his estranged father at the family's shabby plantation, where he must contend with his father's feisty mistress and a strange cousin. Against this less-than-ideal backdrop, Joel slowly matures into an upstanding young man.

艾玛（娜塔莉·波特曼饰）和亚当（艾什顿·库彻饰）是多年的好友，一次意外之下不小心“炒了饭”。为了一边维系他们的友情，一边享受不带负担的性爱关系。他们约法三章。1.不可以嫉妒、不可以对彼此有期望；2.不可以吵架，不会送花；3.更不可以装娃娃音撒娇！　　　彼此可以在公开的场合，做他们想要做的任何事，且不用担心对方的反应，更不会因性而坠入爱河。但是……你能发生性关系但却不带一点爱的情愫吗？他们的纯友谊还能继续下去吗？

就读于东京某大学的玉子（前田敦子 饰），毕业后并未马上进入职场，而是返回位于甲府的老家。她的爸爸善次（康すおん 饰）经营着一家体育用品专卖店，不过玉子看似并未打算帮爸爸打理店铺。每天日上三竿到了开店的时间，她依旧躺在床上呼呼大睡；好不容易起床，随便找了点吃剩下的东西下肚果腹。终日里无所事事，吃布丁、看漫画、玩游戏、睡懒觉，或者对着电视机大骂日本没有前途，全然没有外出找工作的念头，与当年的同学也完全断掉联系。此时此刻的玉子，俨然成了打算在家一辈子啃老的Neet一族。        玉子的工作，善次的爱恋，父女俩别别扭扭的生活在一起，爱之深又恨之切。春夏秋冬，交替变幻。玉子在爸爸的注视下朝着未来迈出重要的一步……

就读于东京某大学的玉子（前田敦子 饰），毕业后并未马上进入职场，而是返回位于甲府的老家。她的爸爸善次（康すおん 饰）经营着一家体育用品专卖店，不过玉子看似并未打算帮爸爸打理店铺。每天日上三竿到了开店的时间，她依旧躺在床上呼呼大睡；好不容易起床，随便找了点吃剩下的东西下肚果腹。终日里无所事事，吃布丁、看漫画、玩游戏、睡懒觉，或者对着电视机大骂日本没有前途，全然没有外出找工作的念头，与当年的同学也完全断掉联系。此时此刻的玉子，俨然成了打算在家一辈子啃老的Neet一族。        玉子的工作，善次的爱恋，父女俩别别扭扭的生活在一起，爱之深又恨之切。春夏秋冬，交替变幻。玉子在爸爸的注视下朝着未来迈出重要的一步……

你的大脑像男人还是像女人那样思考是天生的吗？真的是女性更善谈，男性更不易动感情吗？你的第二和第四根手指的长度比例和这有什么关系？我们也许都习惯性地认为，男人和女人是一样的，但该系列片将会表明，男女是完全不同的。从人类刚刚出现时起，就已注定了这种不同。不仅如此，不是所有的男人都有男人的大脑，也不是所有的女人都有女人的大脑：“身体性别”和“大脑性别”并非同样的事。在生动有趣的三集节目中，讲述了性别差异的六大区域：情绪认知、同理心、交流、基本认知、竞争以及大脑解剖结构。科学家们将把真实生活中的人纳入测试当中。结果有的很有趣，有的也很刺激，这是一个发人深思，而又非常有趣的旅程，将会揭开有关性别定义的神秘面纱，揭示出令人惊讶的真相。我们即将发现“一点点的自信”如何能在伙伴关系中发挥重要作用，如何成为幸运儿。

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

男人总是无所顾忌，永远不会认输；而女人不能相信，女人笑一下就能摆平任何麻烦。两性不能融洽地相处，男人和女人是不同的物种吗？五个男人，五个女人，全世界最大规模的两性调查、秘密实验，和世界上第一种能改变大脑的药物。准备好探索两性真正的差异。本纪录片邀请了五男五女来参与一系列特别的测验。选出的测试小组尽可能包括社会各个阶层的人。志愿者知道他们在参与一个研究男女差异的节目，但是，他们不知道的是，在节目最后，有些人会完全改变对自己的认识。

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.