故事围绕着四位毕业生兼好友——柳芭（Lyuba）、安雅（Anya）、索尼娅（Sonya）和阿丽娜（Alina）展开。十七岁的她们憧憬着光明美好的未来。柳芭打算成为一名演员，并嫁给疯狂爱着她的同学、年轻诗人谢廖扎（Seryozha）。阿丽娜想嫁给维尔卡（Wilka）。而索尼娅只梦想着能遇到一位非常聪明、博闻广识又有趣的爱人，在前夕……

In the center of the plot is the story of four graduates and friends: Lyuba, Anya, Sonya and Alina. At seventeen, they dream of a bright and happy future. Lyuba is to become an actress and marry a classmate and a young poet Seryozha, who is madly in love with her. Alina - to marry Wilka. And Sonya only dreams of meeting her lover - very smart, well-read, interesting, and in eve...

A tramp steals a girl's handbag, but when he tries to pick Charlie's pocket loses his cigarettes and matches. He rescues a hot dog man from a thug, but takes a few with his walking stick. When the thief tries to take some of Charlie's sausages, Charlie gets the handbag. The handbag makes its way from person to person to its owner, who is angry with her boyfriend who didn't protect her in the first place. The boyfriend goes to throw himself in the lake in despair. Charlies helps him.

Following Afternoon Landscape (2020) and Night Walk (2023), Sohn Koo-yong presents his third feature documentary. A cinematic wanderer who savors spaces and finds poetry in nature, Sohn ventures into a park this time with Oh Kyu-won’s poem The Breath of the Garden in his hand. As the 24-verse poem that begins with the line “At 2 in the afternoon, a butterfly fluttered close to the ground” appears as text on the screen, at the park, a bird settles down on a branch, clouds cover the sun, a cat washes its face, a water wheel turns, a fountain sprays water, a koi swims across the pond, and ants diligently go about their work. This “230 square meters of universe,” where the world of text and image merge seamlessly, is perfectly complete in its meaningful meaninglessness. Sohn presents a world that glimmers with fragile transparency, using the repetition, variation, and circulation of minimal things. The film captures a walker’s world, both empty and full at once.

Following Afternoon Landscape (2020) and Night Walk (2023), Sohn Koo-yong presents his third feature documentary. A cinematic wanderer who savors spaces and finds poetry in nature, Sohn ventures into a park this time with Oh Kyu-won’s poem The Breath of the Garden in his hand. As the 24-verse poem that begins with the line “At 2 in the afternoon, a butterfly fluttered close to the ground” appears as text on the screen, at the park, a bird settles down on a branch, clouds cover the sun, a cat washes its face, a water wheel turns, a fountain sprays water, a koi swims across the pond, and ants diligently go about their work. This “230 square meters of universe,” where the world of text and image merge seamlessly, is perfectly complete in its meaningful meaninglessness. Sohn presents a world that glimmers with fragile transparency, using the repetition, variation, and circulation of minimal things. The film captures a walker’s world, both empty and full at once.

盖伊是一名正在崛起的波士顿爵士小号手，玛德琳是一个内向、对未来茫然无措的女孩，两人已经约会了3个月。起初的爱情走向平淡，盖伊遇到了活泼开朗的Elena并一见钟情，于是便离开了玛德琳。失恋的玛德琳依然内向平淡，她搬了家，找了新工作，开始学习一门乐器，出门社交，开始走上新生活。而此时的盖伊也对当初的决定产生了怀疑——Elena对他的音乐并不感兴趣，他发现自己仍忘不了玛德琳。但盖伊已经找不到玛德琳了，此时的玛德琳也准备搬到纽约去，开始新的一段感情。两人意外相遇，何去何从，面对曾经的感情，如何抉择。

河畔的绿茵丛中静静伫立着一张长椅。某个黄昏时分，这对久别重逢的青梅竹马在狭小的座椅上并肩而坐。他们交换着欲言又止却饱含温情的话语，细碎的话语间流淌着难以言明的微妙情愫。 　　这张承载着故事的长椅见证着人间百态：谈分手的情侣遭遇醉汉搅局，离家出走的姐姐与追寻而来的妹妹在此相逢，市政厅职员正谋划着拆除这座承载记忆的公共设施。 　　本片以一张长椅为原点，用多线交织的长篇叙事捕捉当代都市人稍纵即逝的生命片段，在方寸之间勾勒出浮世众生的情感光谱。

河畔的绿茵丛中静静伫立着一张长椅。某个黄昏时分，这对久别重逢的青梅竹马在狭小的座椅上并肩而坐。他们交换着欲言又止却饱含温情的话语，细碎的话语间流淌着难以言明的微妙情愫。 　　这张承载着故事的长椅见证着人间百态：谈分手的情侣遭遇醉汉搅局，离家出走的姐姐与追寻而来的妹妹在此相逢，市政厅职员正谋划着拆除这座承载记忆的公共设施。 　　本片以一张长椅为原点，用多线交织的长篇叙事捕捉当代都市人稍纵即逝的生命片段，在方寸之间勾勒出浮世众生的情感光谱。

《轮椅上的女孩》是由北川(本名刘明富)独立导演、焦波监制的纪录片，于2017年获得镇江国际纪录片盛典最佳导演奖。

《轮椅上的女孩》是由北川(本名刘明富)独立导演、焦波监制的纪录片，于2017年获得镇江国际纪录片盛典最佳导演奖。