Okgyun never fit the narrative spun by adoption agencies; she was a married mother of three. After being pressured to relinquish her fourth child, Mieke, was adopted to the Netherlands. In present day, Mieke visits her family in Seoul to celebrate her recent marriage. Between Goodbyes is an intimate portrait of one family’s enduring grief and love.

从具体的物，到庞大的山体，再到更为抽象的像素，光影；从视觉的清晰到模糊，从不变见万变。《在物之间》试图在物与物之间建立一种抽象且富有弹性的连接，为观者提供一种非语言性的感官体验。如Mei-mei Berssenbrugge写到”正因为不知道事物之间的联系，才有可能到达超出这个连接本身的理解。“ 　　在语言甚至经验之外，我们该如何去理解？是《在物之间》要讨论的问题。

Okgyun never fit the narrative spun by adoption agencies; she was a married mother of three. After being pressured to relinquish her fourth child, Mieke, was adopted to the Netherlands. In present day, Mieke visits her family in Seoul to celebrate her recent marriage. Between Goodbyes is an intimate portrait of one family’s enduring grief and love.

Kira Muratova made this film under the pseudonym of Ivan Sidorov in 1983, but the official release came in 1988. Taken from the novel by Vladimir Korolenko, this somber drama tells of a judge who is devastated after the death of his wife and is neglectful of his children. His son befriends the children of a street beggar who live in an abandoned, derelict church. After his experience with is new friends, the young boy begins to feel sorry for his father and sympathizes with his loneliness.

Candy一个金发碧眼、才华横溢、性感的家庭主妇，她过着安逸的生活，只想被爱，但另一方面她的丈夫Evaristo冷漠、无聊、总是不知疲倦的在办公室工作，更糟糕的是他对性也不感兴趣，尽管Candy试图让他有所改变但徒劳无果。在这种情况下，为了让粗心的丈夫为他的婚姻罪行付出代价，Candy向她性感的挚友Lola寻求建议，他们一起制定了一个万无一失的计划，可怜的Evaristo将要接受永生难忘的教训。

Candy一个金发碧眼、才华横溢、性感的家庭主妇，她过着安逸的生活，只想被爱，但另一方面她的丈夫Evaristo冷漠、无聊、总是不知疲倦的在办公室工作，更糟糕的是他对性也不感兴趣，尽管Candy试图让他有所改变但徒劳无果。在这种情况下，为了让粗心的丈夫为他的婚姻罪行付出代价，Candy向她性感的挚友Lola寻求建议，他们一起制定了一个万无一失的计划，可怜的Evaristo将要接受永生难忘的教训。

“顾沉舟，你总为我流血，今生今世，你会为我流泪吗?"她以为，作为她的贴身保镖，他愿意为她死，却不愿爱她。殊不知，他以身饲虎，算计好一切，唯独算错了自己的心。他们在收起锋刃两端，看到爱丝丝缕缕，穿透了黑白的缝隙。

实验影像《在山与山之间》以“影”作为叙事核心，反向探索、描绘我们所在的日常世界，反思光与影，自我与世界的关系。“影”成为自我意识可以以运动和无形的方式介入“人-世界“之间的罅隙，流动着勾连无与有、虚无与存在并形成除二之外的第三项。人们总觉得影子依附于光，但当日食出现，万物黑暗间涌动，人们以为影随光一同消失，却忘了万物其实都笼罩在巨大的影子里，影子不需要任何依附，有自己的生命。

实验影像《在山与山之间》以“影”作为叙事核心，反向探索、描绘我们所在的日常世界，反思光与影，自我与世界的关系。“影”成为自我意识可以以运动和无形的方式介入“人-世界“之间的罅隙，流动着勾连无与有、虚无与存在并形成除二之外的第三项。人们总觉得影子依附于光，但当日食出现，万物黑暗间涌动，人们以为影随光一同消失，却忘了万物其实都笼罩在巨大的影子里，影子不需要任何依附，有自己的生命。