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In 1961, Roger Maris and Mickey Mantle played for the New York Yankees. One, Mantle, was universally loved, while the other, Maris, was universally hated. Both men started off with a bang, and both were nearing Babe Ruth's 60 home run record. Which man would reach it?

一段诙谐不羁的音乐，两辆决不普通的山地单车，怪叔叔级的动画大师在城郊小道上的比赛，这一切混合在一切会产生怎样的化学反应？林重行(Rintaro、铃太郎、林太郎)用充满大师范的镜头和教科书般的速度感表现告诉我们，这就是快乐，这就是动画。 　　时值2002年，《蒸汽男孩Steamboy 》正处于紧锣密鼓的制作中，我们敬爱的林重行与大友克洋进行了一场私人山地自行车竞赛，这场“充满友爱”的比赛事后被搬上银幕，制作成为这部六分一十九秒的短片，两位大师化身其中，这一切已经足够让动漫迷们从发梢兴奋到脚趾了吧。 　　短片在诙谐的Jazz乐中开始，两位大师在似曾相识的播报声中粉墨登场，妖魔化的造型让观众会心一笑。片子的开头部分略显平淡，只有充满张力的镜头彰显出此片不凡的出身，直到两分零二秒时字体奇丑的“You Fucking Foll !!”出现，好戏开演。二十秒后林大师率先按耐不住开始变身——看到那个蒸汽装置的造型时你想到了什么？从此剧情随着音乐迭起，而后归于平淡时，两辆单车与蒸汽车头合为一体，如此友爱的暗示又让你联想到什么？不用想了，蒸汽弥漫的画面中有温馨提示。 　　不得不说，将这么一个小品级题材制作成为一部酣畅淋漓的动画，需要一颗怎样举重若轻的心，短片像日记一般记载了两位大师的一段过往，那流动的线条与色块之间充斥着的是快乐、友谊、梦想……或许是林大师在对这个比自己年幼十三岁的天才动画人致敬吧，那非凡的速度感表现和无处不在的细腻描画不正是大友克洋的标识。 　　这其中，有多少是我们所缺失地呢。 　　2002年，林重行61岁，大友克洋48岁，两年后《蒸汽男孩Steamboy 》诞生，震动世界。 　　-from AnimeTaste LandwioR

一段诙谐不羁的音乐，两辆决不普通的山地单车，怪叔叔级的动画大师在城郊小道上的比赛，这一切混合在一切会产生怎样的化学反应？林重行(Rintaro、铃太郎、林太郎)用充满大师范的镜头和教科书般的速度感表现告诉我们，这就是快乐，这就是动画。 　　时值2002年，《蒸汽男孩Steamboy 》正处于紧锣密鼓的制作中，我们敬爱的林重行与大友克洋进行了一场私人山地自行车竞赛，这场“充满友爱”的比赛事后被搬上银幕，制作成为这部六分一十九秒的短片，两位大师化身其中，这一切已经足够让动漫迷们从发梢兴奋到脚趾了吧。 　　短片在诙谐的Jazz乐中开始，两位大师在似曾相识的播报声中粉墨登场，妖魔化的造型让观众会心一笑。片子的开头部分略显平淡，只有充满张力的镜头彰显出此片不凡的出身，直到两分零二秒时字体奇丑的“You Fucking Foll !!”出现，好戏开演。二十秒后林大师率先按耐不住开始变身——看到那个蒸汽装置的造型时你想到了什么？从此剧情随着音乐迭起，而后归于平淡时，两辆单车与蒸汽车头合为一体，如此友爱的暗示又让你联想到什么？不用想了，蒸汽弥漫的画面中有温馨提示。 　　不得不说，将这么一个小品级题材制作成为一部酣畅淋漓的动画，需要一颗怎样举重若轻的心，短片像日记一般记载了两位大师的一段过往，那流动的线条与色块之间充斥着的是快乐、友谊、梦想……或许是林大师在对这个比自己年幼十三岁的天才动画人致敬吧，那非凡的速度感表现和无处不在的细腻描画不正是大友克洋的标识。 　　这其中，有多少是我们所缺失地呢。 　　2002年，林重行61岁，大友克洋48岁，两年后《蒸汽男孩Steamboy 》诞生，震动世界。 　　-from AnimeTaste LandwioR

A filmmaker’s meditation on loss and grief. A digital eulogy and swan song to his creative partner and best friend. Mixed media woven into the fading daydream of their time together.

Documentary focuses on 'Sona', the daughter of the director's brother who moved to North Korea from Japan in the early 1970s. Through Sona, the film shows the generation that migrated from Japan to North Korea and their offspring who were born and raised in North Korea. Sona's upbringing is quite normal, but the special aspects within North Korean society make their presence known in a subtle way. By showing the process of the migratory people establishing their identities within North Korean society, North Korea becomes a region that shows a universal view of human society in general and not just a closed society. This approach is a special feature of Yang. She adds normalcy through her depiction of a family to 'North Korea'; a name that we have come to regard as something quite special.

哲明の祖父、戦争のころ来日した韓国人の松江勇吉（劉忠植）。その祖父の最期の言葉は「哲明バカヤロー！」だった… 　　祖父、そして家族が歩んできた歴史を、孫（在日三世）の視点でたどる笑いと涙の記録。

Documentary focuses on 'Sona', the daughter of the director's brother who moved to North Korea from Japan in the early 1970s. Through Sona, the film shows the generation that migrated from Japan to North Korea and their offspring who were born and raised in North Korea. Sona's upbringing is quite normal, but the special aspects within North Korean society make their presence known in a subtle way. By showing the process of the migratory people establishing their identities within North Korean society, North Korea becomes a region that shows a universal view of human society in general and not just a closed society. This approach is a special feature of Yang. She adds normalcy through her depiction of a family to 'North Korea'; a name that we have come to regard as something quite special.

哲明の祖父、戦争のころ来日した韓国人の松江勇吉（劉忠植）。その祖父の最期の言葉は「哲明バカヤロー！」だった… 　　祖父、そして家族が歩んできた歴史を、孫（在日三世）の視点でたどる笑いと涙の記録。

長年漂泊在外的男子，搭上一列返鄉的火車，再次踏上熟悉的街道。即將被查封的老舊眷村，獨自居住在空蕩祖厝的弟弟，塵封已久的回億漸漸顯影。本片不只描繪男子疏遠親故的愧疚之情，也銘記著某片走入歷史的風景。