《就这样长久离别》是现实地描写交往了很久的恋人的爱情和离别的故事。林周焕在剧中饰演小说家裴尚熙，他在推出第一部作品后就名声大噪，但之后很长一段时间都无法再完成新作品，在工作和爱情面前只剩下自我厌恶的情绪。他陷入和所属出版社编辑长同时也是他的女友郑伊娜（张熙珍 饰）之间的爱情和工作的烦恼之中。

毕加索式超现实唯美画风，加之用诗人罗贝尔.德斯诺的抒情诗作为旁白，“你在我梦中如此长久 I Have Dreamed Of You So Much”，描述了一段求之不得的凄美爱情。

毕加索式超现实唯美画风，加之用诗人罗贝尔.德斯诺的抒情诗作为旁白，“你在我梦中如此长久 I Have Dreamed Of You So Much”，描述了一段求之不得的凄美爱情。

故事讲述了在生命最后瞬间相遇的两人特别的一日.徐仁国将首次挑战一人分饰2角

宝可梦与上海美术电影制片厂合作的特别动画短片《但愿梦长久》正式公开！ 　　短片运用具有上美影特色、兼具装饰性的中国画画风，描绘了宝可梦世界中一个色彩如画的秋月之夜。与伴乘风去，水中月，亦是乡。愿训练家们与宝可梦长久相伴，共赏明月！

宝可梦与上海美术电影制片厂合作的特别动画短片《但愿梦长久》正式公开！ 　　短片运用具有上美影特色、兼具装饰性的中国画画风，描绘了宝可梦世界中一个色彩如画的秋月之夜。与伴乘风去，水中月，亦是乡。愿训练家们与宝可梦长久相伴，共赏明月！

为什么雨过天不晴， 　　为什么天晴了那条小路还泥泞， 　　为什么好梦总是难留住， 　　为什么为什么相分分不开， 　　想合合不成， 　　细思量细思量， 　　只要人家真情在， 　　不必在乎路泥泞， 　　只要人间真情在， 　　更不必在乎是雨还是晴 　　该剧在日播出后获日本放送大奖； 　　获得第十四届全国电视剧飞天奖长篇电视连续剧三等奖

为什么雨过天不晴， 　　为什么天晴了那条小路还泥泞， 　　为什么好梦总是难留住， 　　为什么为什么相分分不开， 　　想合合不成， 　　细思量细思量， 　　只要人家真情在， 　　不必在乎路泥泞， 　　只要人间真情在， 　　更不必在乎是雨还是晴 　　该剧在日播出后获日本放送大奖； 　　获得第十四届全国电视剧飞天奖长篇电视连续剧三等奖

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.

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.