七年前，两个男人和一个女人的三角关系，但都终究没有维持下去，各分东西；七年后，两个男人在汉城的第一场雪后久别重逢，想起来共同喜欢的那个女人，决定一同去寻找她，只是他们都不能确定，多年后再见的她是不是他们的未来。

七年前，两个男人和一个女人的三角关系，但都终究没有维持下去，各分东西；七年后，两个男人在汉城的第一场雪后久别重逢，想起来共同喜欢的那个女人，决定一同去寻找她，只是他们都不能确定，多年后再见的她是不是他们的未来。

The story about a couple who do not want to have children of their own, and a pregnant, single woman who needs a home for a while, the relationship between the three protagonists is strange, at the very least.

The story about a couple who do not want to have children of their own, and a pregnant, single woman who needs a home for a while, the relationship between the three protagonists is strange, at the very least.

阿琳（黛薇卡·霍内 Davika Hoorne 饰）出生在一个贫穷的家庭之中，善良的母亲遭人诱骗而失去了家中非常宝贵的土地，如今，阿琳每天都在非常努力的工作，以换回这些土地的使用权。某日，阿琳所在的公司突然宣告倒闭，霎时间，阿琳失去了全部的经济来源，就在不知所措之际，阿琳邂逅了名为肯的男子（通坎东·通猜 Thongkanthom Thongchai 饰），在阿肯的建议下，阿琳决定隐瞒自己的性别，女扮男装再扮女装，去参加人妖比赛，以获得比赛高额的奖金。 　　最终，天生丽质的阿琳不仅夺得了头筹，还获得了大导演帕克（辰塔维·塔纳西维 Chantavit Dhanasevi 饰）的青睐，成为了他下一部电影的主演。

阿琳（黛薇卡·霍内 Davika Hoorne 饰）出生在一个贫穷的家庭之中，善良的母亲遭人诱骗而失去了家中非常宝贵的土地，如今，阿琳每天都在非常努力的工作，以换回这些土地的使用权。某日，阿琳所在的公司突然宣告倒闭，霎时间，阿琳失去了全部的经济来源，就在不知所措之际，阿琳邂逅了名为肯的男子（通坎东·通猜 Thongkanthom Thongchai 饰），在阿肯的建议下，阿琳决定隐瞒自己的性别，女扮男装再扮女装，去参加人妖比赛，以获得比赛高额的奖金。 　　最终，天生丽质的阿琳不仅夺得了头筹，还获得了大导演帕克（辰塔维·塔纳西维 Chantavit Dhanasevi 饰）的青睐，成为了他下一部电影的主演。

两个年轻人，一个害羞，一个自信，在巴黎度过了一个快节奏的夜晚，试图搭讪小鸡。他们面对一切可能的困难。

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html

Around a familiar theme – the breakup of a marriage – Yvonne Rainer constructs a wickedly funny account of a self-satisfied womaniser. Sitting in a chair facing the camera, Jack Deller rambles on about women, whose visual absence runs through the entire film. On the soundtrack we hear their questions and comments, by turns enraged or laconic, both stressing and also subverting Deller’s self-assured discourse. The spoken words are taken from texts found in film and everyday culture, from poststructuralist, psychoanalytic and feminist theory. Aside from the theme of the failed (heterosexual) relationship, further fields of conflict get explored – the housing shortage and gentrification in New York during the 1980s, abortion rights, the violent interventions of the US in Latin America. A never-ending collage made up of contradictory levels of meaning results in producing ever new connections and contexts. “Rainer is not trying for some kind of well-mannered correctness or a masterly, fatherly notion of ‘transcendent intellectual clarity’; rather, she tends toward a type of tumbling process, an unbalancing of power, language, and the body.” (Barbara Kruger, Artforum 1986) 　　源自：https://www.berlinale.de/en/2023/programme/202314258.html