出于对帕格尼尼这个意大利天才小提琴家的崇敬，金斯基用自己对电影艺术的狂热不羁投射到与他有同样狂放气质的帕格尼尼身上，将这个具有天才技艺的艺术家孤独、狂傲和对艺术的迷恋表现在银幕上。

Kinski believed that he lived through the same experiences as the legendary "devil violinist" Niccolo Paganini, who set whole Europe of the 19th century into frenzy and through whose personality Kinski offers us an incredibly profound and honest insight into his own life; a life of extremities.

根据《战双帕弥什》改编的日常动画。露西亚的传奇食谱，里的寻路日常，打工的卡列尼娜，神威的训练计划……在空中花园平凡的日常里，拥有着出人意料的展开！这道特制的战双帕尼尼还请指挥官们品尝！

Two schoolboy musicians help to catch a jewel thief

Biopic about Niccolo Paganini. He receives training from his father in early childhood. The best teachers of Parma are unable to give him more, so Paganini turns to a daily 15 hours of rigorous self-training. He makes sensational concert tours in Vienna, Paris, London and many other cities of Europe. He is always playing from memory, wearing black, and his stage appearance supports the rumors of his supernatural abilities. He is a wealthy man, but gambling and reckless spending forces him to pawn his violin. He is given a Guarneri violin by a wealthy listener to keep. He later gives this violin to the city if Genoa. The Paganini's violin is played by Leonide Kogan in this film.

快乐的小熊尼尼

一位男子正​​赶路赴约，在途中与久未碰面的女子巧遇。男子陪着方向感极差的女子走了一段路，两人有一搭没一搭的聊着城市及彼此，破碎的对话充满微妙的气氛。世事似乎只是一再重复，已有各自生活的两人，偶然重逢又悄然远离。巧遇之后的几年，再次于共同朋友的葬礼上相见，物是人非，已不再怀疑事物的无情转变。三段对话，三个人生片刻，这些相遇拼凑出时间的神秘，曾经无法理解的事物、无法遗忘的事物，以及遍寻不着的事物，已然过去，却成为了现在。

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