在旅行社工作的合田圭子（南野阳子 饰）某天突然发现自己是艾滋病毒的携带者，经调查发现其学生时代的恋人早年在国外因事故输血感染艾滋病毒，并通过性爱传染给她。得知此事的记者津岛美幸（南果步 饰）赶来采访圭子，希望通过她的遭遇改变世人对艾滋病患者的偏见。 　　圭子结交男友高野（赤井英和 饰），但始终不敢将真相说出口，自杀未遂的圭子向高野坦白一切，高野无法接受事实，离她而去。这时候津岛的执著和真诚让身心受伤的圭子感到欣慰。某日圭子发现自己怀有身孕，孩子是否也是艾滋病毒的携带者？将为人母的圭子生命又将何时完结？ 　　改编自家田庄子同名获奖小说作品。

在旅行社工作的合田圭子（南野阳子 饰）某天突然发现自己是艾滋病毒的携带者，经调查发现其学生时代的恋人早年在国外因事故输血感染艾滋病毒，并通过性爱传染给她。得知此事的记者津岛美幸（南果步 饰）赶来采访圭子，希望通过她的遭遇改变世人对艾滋病患者的偏见。 　　圭子结交男友高野（赤井英和 饰），但始终不敢将真相说出口，自杀未遂的圭子向高野坦白一切，高野无法接受事实，离她而去。这时候津岛的执著和真诚让身心受伤的圭子感到欣慰。某日圭子发现自己怀有身孕，孩子是否也是艾滋病毒的携带者？将为人母的圭子生命又将何时完结？ 　　改编自家田庄子同名获奖小说作品。

Ahmet, Murat ve Sadi film çekme hayalleri kuran, ve parayı toplamak için 'Meslek Hikayeleri' adlı belgesel-programda sunuculuk yapan üç aktördür. amaçları bu programdan para topladıktan sonra gişe rekorları kıracak bir film çekebileceklerdir fakat çektikleri porgram yayınlanmayınca daha iyi bir bölüm çekmek için kolları sıvarlar. 　　Ahmet, başrol oynadığı günlerin özlemini çekmekte, mazideki başarılarının göz ardı edilmesinden şikayet etmektedir. Kendisinin artık tanınmadığını düşünmekte ve bu yüzden herkese sitem etmektedir. 　　Murat, mesleğinin gereklerini yapmaya çalışırken , kendisini terketmiş olan eski sevgilisiyle beraber çalışmanın zorluklarını yaşamaktadır. 　　Sadi, gümrük memurluğunu oyuncu olmak için bırakmış, para dertleri ve ailevi sorunlarla uğraşmaktadır. Figüranlık yaptığı dizisinden başka gelir kaynağı olmayan Sadi için 'Meslek Hikayeleri'nin yayınlanması ve ücretlerini almaları çok önemlidir. Bu sıra da programın Yapımcısı ve yapım ekibi işleri kolaylaştırmamakta güçleştirmektedir.

Augusto Tretti是上世纪六七十年代的意大利超现实主义CULT片大师

Augusto Tretti是上世纪六七十年代的意大利超现实主义CULT片大师

Burn-out and depression are not individual phenomena but collective ones. The film is an invitation to rest through images and listening, so as to transform individual exhaustion into shared power to act.

Burn-out and depression are not individual phenomena but collective ones. The film is an invitation to rest through images and listening, so as to transform individual exhaustion into shared power to act.

Six eager students strike out to explore and record live footage of supernatural activity at an abandoned plantation, but one unsettled spirit gives them more than they asked for.

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