“他们为什么在一起？”这将是第一个想到的想法，因为朱相宇和张在英在所有可以想象的方面都是如此不同。一个是一个像机器人一样的工科学生，为了方便穿…

工学院的风云人物张宰英(朴栖含 饰)，是个拥有模特儿好身材和脸蛋的视觉设计系大四生，成绩优越的边缘人秋尚宇(朴宰灿 饰)，则是机械科的大三生，逻辑能力绝佳却有点书呆子。个性截然不同的两个人，却阴错阳差一起制作手游，张宰英对于秋尚宇来说，就像是电脑程式中的BUG错误指令，一场甜蜜的校园爱情就此展开。本剧改编自同名人气小说，后制作成网漫、动画，这次推出真人版戏剧，可见其魅力。

主修電腦工程的秋尚宇律己甚嚴，在一堂通識課中認識了設計系的張宰英，是校園風雲人物的張宰英可謂十項全能，卻只對秋尚宇無能為力......。張宰英在完美主義的秋尚宇面前，就像程式中錯誤的語意，秋尚宇能否編好這程式錯誤呢？

工学院的风云人物张宰英(朴栖含 饰)，是个拥有模特儿好身材和脸蛋的视觉设计系大四生，成绩优越的边缘人秋尚宇(朴宰灿 饰)，则是机械科的大三生，逻辑能力绝佳却有点书呆子。个性截然不同的两个人，却阴错阳差一起制作手游，张宰英对于秋尚宇来说，就像是电脑程式中的BUG错误指令，一场甜蜜的校园爱情就此展开。本剧改编自同名人气小说，后制作成网漫、动画，这次推出真人版戏剧，可见其魅力。

口哨，古称啸，动唇有曲，发口成音，可传意寄情。有啸者坚信，其音与天地自然共振，连接过去、当下与未至之境。

口哨，古称啸，动唇有曲，发口成音，可传意寄情。有啸者坚信，其音与天地自然共振，连接过去、当下与未至之境。

工学院的风云人物张宰英(朴栖含 饰)，是个拥有模特儿好身材和脸蛋的视觉设计系大四生，成绩优越的边缘人秋尚宇(朴宰灿 饰)，则是机械科的大三生，逻辑能力绝佳却有点书呆子。个性截然不同的两个人，却阴错阳差一起制作手游，张宰英对于秋尚宇来说，就像是电脑程式中的BUG错误指令，一场甜蜜的校园爱情就此展开。根据剧版重新剪辑的电影版将8集内容合在一起，再加上未公开视频一起制作。

Michel Piccoli stars as an amorous dentist whose philandering seemingly knows no bounds. He is no sooner shooing such lovelies as Anna Karina and Elsa Martinelli out the back door than he is welcoming such "new blood" as Joanna Shimkus into his living room. When Shimkus demands a commitment, Piccoli runs home movies of his past girlfriends, insisting all the while that he has forgotten them and that Joanna is the only woman in his life. The very next day he's running his movies for still another woman, and the song continues. De L'Amour is based on an 1822 novel by Stendhal (who would have been visionary indeed if he'd included all those home movies!)

A famous docking: Algiers, the White City, in a radiant light. The picture darkens with a voice-over reading of the text of the surrender of the Dey of Algiers in 1830. About the Conquest confronts us with a page of the French national novel that was too hastily turned. Franssou Prenant audaciously gathers a community of complicit voices who read a succession of archives (reports, testimonies, memoirs, historical, geographical, and urbanistic considerations) in a matter-of- fact tone. Recounting the stages of France’s colonisation of Algeria between 1830 and 1848, they outline the ideological landscape of a staggering annihilation effort. The film could just as well have been entitled About Destruction. Franssou Prenant thus constructs a memorial with a technique common to History and cinema: montage. A montage of texts: the words of Victor Hugo, Ernest Renan, Tocqueville are interwoven with those of military men, senior officials, brigadiers, without any way of distinguishing the authors. Then, a montage of images through which yesterday’s acts of violence and dispossession echo in the present: in contrast to an account of murders, the film presents a desolate desert landscape or the frank and innocent smiles of teenagers. The promises of riches offered by colonized Algeria are accompanied by shots of an opulent, Haussmann-style Parisian city centre. We are plunged into a reflection on the nature of this extraordinary violence, through a pictorial meandering into contemporary Algeria, entwined with archival extracts heard in an interplay of convergence and divergence. The piling up of texts brings to light both the ethnocentric and racist imaginary and the cold logic of economic exploitation that dictated the colonization of Algeria and its irreversible consequences, from which Algerian society still suffers today. 　　源自：https://fidmarseille.org/en/film/de-la-conquete-about-the-conquest/

从心灵哲学的角度看，“平行论”是一种身心相互作用的二元论，它认为精神事件与物质事件发生在平行的存在过程中，两者以特定的方式相互作用着，当然这并不意味着其中一个可以诱导另一个去做和它同样的事。电影用同样的方式展示了两个世界，两座城市。它们看似独立存在，但实际上它们通过走廊、时空隧道和跨维度桥梁相互交流着。这两个相反的世界，乌托邦和反乌托邦，终将在一个“混血”的世界中统一。那不是两个世界单纯的加总，而是两个世界的某种融合。在那里，由两个相反世界融合诞生的新世界就有了一个新的身份。在意大利语中，“meccio”(混血)源于晚期拉丁语mixtīcius，意思是“混合”，由此很可能衍生出了法语里的成语métis，意为我们每个人融合多重身份，多重个性于一身的能力。影片的主人公是一个的“聚合”，是一个眼睛上长有拉链，脸颊上生长着玫瑰花瓣的女人，她看上去就像花。影片由她介绍给大家，也由她落幕，好像她的存在引导着和谐的融合之路——那也是一个“混血”的存在——似乎她的故事就是通往希望与满足世界的必经之路，这个过程充满可能性，起始的两条平行道路即象征了一种获得新融合身份、兼容发展和成就独特的可能性。