改编自酒小七所著小说《千尘渡我》。 　　拥有金刚不坏身体却险被家人溺亡的云轻幸得乐尘子搭救并收为徒，与师妹浮雪在龙首山成长。但因乐尘子在华阳派失踪，师姐妹俩前往华阳派探寻，与拥有众多秘密的华阳派少主江白榆一道东行，途中结识富家子弟程岁晏和猫妖辞鲤，五人由此踏上奇幻冒险的征程。

改编自酒小七所著小说《千尘渡我》。 　　拥有金刚不坏身体却险被家人溺亡的云轻幸得乐尘子搭救并收为徒，与师妹浮雪在龙首山成长。但因乐尘子在华阳派失踪，师姐妹俩前往华阳派探寻，与拥有众多秘密的华阳派少主江白榆一道东行，途中结识富家子弟程岁晏和猫妖辞鲤，五人由此踏上奇幻冒险的征程。

Dust, starring Alan Rickman and Jodie Whittaker, is the short story of a man who follows a young girl and her mum home from school one day. He waits outside their house until nightfall before breaking in. Once inside, events take an unexpected turn...

Dust, starring Alan Rickman and Jodie Whittaker, is the short story of a man who follows a young girl and her mum home from school one day. He waits outside their house until nightfall before breaking in. Once inside, events take an unexpected turn...

"Chiri" is the close observation of the end of the life of her foster mother, after she had turned 95. Following her mother's daily life as she lives out her time, steadily approaching death, Kawase contemplates the fundamental themes of her own film productions.

"Chiri" is the close observation of the end of the life of her foster mother, after she had turned 95. Following her mother's daily life as she lives out her time, steadily approaching death, Kawase contemplates the fundamental themes of her own film productions.

怀着孕的沈青，照顾着患有脑瘫的叔叔，他有被赶出疗养院的风险。 时间紧迫，但她和丈夫勉强承受。 当她得知自己的孩子有70%的几率先天残疾的消息时，她的婚姻陷入危机，夫妻两人为残疾胎儿的命运争论不休，而这个未出生的灵魂却同情地观察着一切。

怀着孕的沈青，照顾着患有脑瘫的叔叔，他有被赶出疗养院的风险。 时间紧迫，但她和丈夫勉强承受。 当她得知自己的孩子有70%的几率先天残疾的消息时，她的婚姻陷入危机，夫妻两人为残疾胎儿的命运争论不休，而这个未出生的灵魂却同情地观察着一切。

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