据线报，黄秋生这阵子经常相约黎芷珊吃烛光晚餐，為何两人会有如此浪漫举动？原来这一切一切也只是佈局，秋生与芷珊每集请来女性嘉宾，在餐厅柔和的烛光下，嚐一顿烛光晚餐。但这顿晚餐并非如斯简单，透过桌上精緻的美食，周边浪漫的情调，秋生与芷珊向嘉宾提问各种问题，天南地北，无所不谈。除了餐厅大厨準备的美食外，秋生也会亲自下厨，让嘉宾一嚐他这位「影帝大厨」的手艺。烛光晚餐再不是二人共享浪漫时刻的专利，而是可以多人一同幽默、轻鬆地高谈阔论任何事情的晚宴！

据线报，黄秋生这阵子经常相约黎芷珊吃烛光晚餐，為何两人会有如此浪漫举动？原来这一切一切也只是佈局，秋生与芷珊每集请来女性嘉宾，在餐厅柔和的烛光下，嚐一顿烛光晚餐。但这顿晚餐并非如斯简单，透过桌上精緻的美食，周边浪漫的情调，秋生与芷珊向嘉宾提问各种问题，天南地北，无所不谈。除了餐厅大厨準备的美食外，秋生也会亲自下厨，让嘉宾一嚐他这位「影帝大厨」的手艺。烛光晚餐再不是二人共享浪漫时刻的专利，而是可以多人一同幽默、轻鬆地高谈阔论任何事情的晚宴！

该剧改编自长篇小说《新来的班主任》，是描写当过知青的老师和九十年代中学生生活的六集电视连续剧。剧中女主人公林老师是下乡的老三届知青，后任农场中学的语文老师，由于工作出色、被交换回省城的北方中学，任全校出名的落后班级的班主任，女儿林凤安排在母亲班中学习，正巧她当年与知青丈夫所生的儿子金龙也在该班。因而引出一连串在教书育人过程中的师生情、母子情、姐弟情及与前夫重逢的感人至深的动人故事。

该剧改编自长篇小说《新来的班主任》，是描写当过知青的老师和九十年代中学生生活的六集电视连续剧。剧中女主人公林老师是下乡的老三届知青，后任农场中学的语文老师，由于工作出色、被交换回省城的北方中学，任全校出名的落后班级的班主任，女儿林凤安排在母亲班中学习，正巧她当年与知青丈夫所生的儿子金龙也在该班。因而引出一连串在教书育人过程中的师生情、母子情、姐弟情及与前夫重逢的感人至深的动人故事。

入围2020年釜山电影节广角单元，纪录片展映。

入围2020年釜山电影节广角单元，纪录片展映。

故事发生在九十年代初的上海。身体羸弱的王双玲（宋晓英 饰）是潘家弄小学的教师，最近她接手一个全校有名的乱班。以路明（唐黎 饰）为首的调皮捣蛋学生搅乱了全班秩序，常常把课堂闹成一锅粥。丈夫大刘（丁嘉元 饰）非常担心双玲的身体，但双玲有决心改变班级面貌。李小朋（张宏伟 饰）出身富有，却沾上不少坏习气，后因父亲违法被判刑，双玲怕他走歧路领回自己家中暂住。周丽萍（杨津 饰）母女因遭父亲遗弃，承揽全部家务的她常因迟到遭同学嘲讽。路明的母亲（陈鸿梅 饰）因儿子的腿被校车轧断，跑到双玲家大闹。丽萍因家暴出走，双玲冒雨连夜寻找，她的无疆爱心深深感动了孩子和家长......

男主董志伟在母亲和姐姐的资金帮助下，考上的 医学院，当上了救死扶伤的医生。并娶妻生子，过着平凡人的日子。 但是在一天，事情突然发生了变故，父亲去世了。男主因忙于手术，缺席了父亲的葬礼，陪同男主母亲王淑凤和男主姐姐女主董小花参加葬礼的是男主的妻子和岳母（女反乔婷婷，女反母亲乔玉梅）。在回家的路上，由于乔玉梅疲劳驾驶，现场发生了严重的车祸。两方都手上惨重。 120赶到后，同行的董志伟也来到了现场，但是在现场，救护车只有一个位置，只能选择 一个人送去医院抢救，最后，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

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