本片据描述将会是一部类似“邦德大战伯恩”的作品，由罗丝安妮·梁执导，斯科特·摩西尔担任编剧，已被「华纳兄弟」竞标拿下。朱莉和贝瑞两人都将担任本片的制片人。

本片据描述将会是一部类似“邦德大战伯恩”的作品，由罗丝安妮·梁执导，斯科特·摩西尔担任编剧，已被「华纳兄弟」竞标拿下。朱莉和贝瑞两人都将担任本片的制片人。

康师傅茉莉浪漫电影季之茉等花开。 　　两台神奇的冰箱，一段浪漫的邂逅。

康师傅茉莉浪漫电影季之茉等花开。 　　两台神奇的冰箱，一段浪漫的邂逅。

讲述农村打工姑娘邱小茉和青年才俊倪坤相爱闪婚。倪坤意外丧生，小茉带着遗腹子进入豪宅，凭借朴实、善良和智慧化解了隔阂与危机。

讲述农村打工姑娘邱小茉和青年才俊倪坤相爱闪婚。倪坤意外丧生，小茉带着遗腹子进入豪宅，凭借朴实、善良和智慧化解了隔阂与危机。

这是一本记录夏日的秘密日记。“Summertime”收集了属于每个人独特味道的情绪并发酵成一个个小型宇宙，去享受极度炎热下的耳鸣，充斥着到达沸腾的能量，又终将伴着夏末那一抹绿意消逝无踪。整部影片在带着时间印记的胶片上进行直接动画，即兴的绘画痕迹通过放映和扫描被无限放大。

主人公本城彰男（松冈祯丞 配音）是一个乐感极好的普通中学生，听过一遍的曲子就能记下来，他暗恋着同班女生树里（上田丽奈 配音），却从来没有机会走进她的世界。两个本属不同圈子的人，被一首奇特的小曲牵引在一起。本城第一次触碰到树里的真实世界，发现了她柔软脆弱的一面。 　　一个关于人偶少女与人类少年的奇幻梦境，一直困扰着树里，让她深感孤独。而本城，因为那首奇异之曲，也开始梦到了相同的故事。每个人都有自己的世界，本城能否走进树里的真实世界中去？

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