过去曾经历过死亡的少女菜花，在某日的放学途中，于两个世界的交会之处遇上了一位少年，自此展开了一场奇妙的旅程

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

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

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

三谷裳千绪（太空直美 配音）是就读于鲛岛学园的平凡高中一年级女生，无论是样貌、性格或是成绩，都只能用平平无奇来形容，然而千绪本人非常享受这种低调闲散的状态。在家里，千绪是个标准的游戏宅，总是沉迷于各种各样的欧美角色扮演游戏之中。 　　千绪的家离学校并不远，所以每天千绪都依靠走路上学，奇怪的是，每一天，在千绪的上学路上，似乎有什么在冥冥之中阻挠着她抵达学校，状况百出，麻烦不断，而千绪兵来将挡水来土掩，最终总是能够化解危机。和千绪一起上学的，还有和千绪互相嫌弃的青梅竹马野野村真奈菜（小见川千明 配音）和田径部王牌细川雪（本渡枫 配音）等人。

就读于随处可见的一般高中“鲛岛学园”的高中一年级学生·三谷裳千绪，她的座右铭是“中下”。过着不显眼的高中生活的她，在上学路上不知为何总能遇见各…

三谷幸喜自编自导的故事里，大富豪的妻子须绪美突然失踪。消息传来后，5 个曾爱过她的男人齐聚丈夫居住的豪宅。然而，他们口中描述的须绪美，外貌和性格都截然不同，仿佛换了个人。那么，须绪美的真面目究竟是什么呢？