1975年創辦的「山海塾」為舞踏界的代表性團體，在天兒牛大極具高度美學的編舞之下，推向更具可塑性的明亮宇宙，有別於其他強調「黑暗」暴力的舞踏團體，將肢體技巧轉為闡述超現實的工具。1986年第七部舞作《卵熱》在水畔的神聖儀式中，如靈魂般的個體不停地崩解、再生，無時間性地存在於生與死之間。天兒牛大說：「舞者的身體像一個水就要溢出的杯子，多一滴都不行，他們的身體已進入極端的平衡狀態。」他是舞台上的祭司，是暗黑舞蹈裡的白色舞踏，在沙、水、土的自然元素裡呈現生命的優雅高貴。

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十七岁的樱和六个朋友一起了主题公园玩。这个主题公园叫“野外生存乐园”，是同行节的叔父开的。在那里，有人扮成忍者、武士、歌手等，游人可以体验战斗…

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