真正的战争不是武器，而是人。这是一场充斥着狡诈、怨恨和背叛的战争的表现。 　　Y 战争分为四个关于娱乐圈斗争的故事。 　　故事 1 新CP 　　組成容易，如何继续营业下去是很难… 　　万一在腐圈迷失了方向，他能找回自己的路？ 　　故事 2 经纪人之战 　　经理之间发生戏剧化冲突，直到这对夫妇被迫分开。 　　故事 3 腐圈新人 　　寻找新演員的现实条件，他们可以唱歌、跳舞和表演。新人们参加综艺养成营里的混乱事情，到底发生激烈的竞争。 　　故事4 妻子 　　当一对CP的另一半有了妻子，他们在这个行业的未来会被毁掉吗？

真正的战争不是武器，而是人。这是一场充斥着狡诈、怨恨和背叛的战争的表现。 　　Y 战争分为四个关于娱乐圈斗争的故事。 　　故事 1 新CP 　　組成容易，如何继续营业下去是很难… 　　万一在腐圈迷失了方向，他能找回自己的路？ 　　故事 2 经纪人之战 　　经理之间发生戏剧化冲突，直到这对夫妇被迫分开。 　　故事 3 腐圈新人 　　寻找新演員的现实条件，他们可以唱歌、跳舞和表演。新人们参加综艺养成营里的混乱事情，到底发生激烈的竞争。 　　故事4 妻子 　　当一对CP的另一半有了妻子，他们在这个行业的未来会被毁掉吗？

Inventor Nott accidentally damages his landlord's Yaoi CDs. To stay, he persuades new tenant Pun to pretend they're dating. As timepasses, their act leads to genuine feelings.

韩国以往的4·3事件的电影如《芝瑟》《非念》关注的是被韩国国军滥杀的平民。这部去年上映的纪录片《耽罗之春》（탐라의 봄，耽罗是济州岛古称)则关注被当时的左翼游击队滥杀的军、警及其家属与其他平民。

韩国以往的4·3事件的电影如《芝瑟》《非念》关注的是被韩国国军滥杀的平民。这部去年上映的纪录片《耽罗之春》（탐라의 봄，耽罗是济州岛古称)则关注被当时的左翼游击队滥杀的军、警及其家属与其他平民。

延续第一季的故事。Pun回到公寓见Nott后，两人的关系在分开这么久后会有什么变化呢？

延续第一季的故事。Pun回到公寓见Nott后，两人的关系在分开这么久后会有什么变化呢？

延续第一季的故事。Pun回到公寓见Nott后，两人的关系在分开这么久后会有什么变化呢？

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