曾獲多項金鐘獎肯定的導演林志儒，延續他作品的詭譎氛圍，在「牆」中，讓日據時代的客家青年阿義，在拯救（或扼殺？）日本左翼偶像的過程中，陷入人格分裂的狀態。 　　故事描述台灣白色恐怖的三、四○年代，一個客家青年阿義（游安順飾），因特殊的原因將自己崇拜的日籍政治領袖（蔭山征彥飾），偷偷藏在家裡，兩個男人隔著牆，一位是來台灣追求美麗社會主義天堂的人，一位則是敬仰他的人。在動盪的時局中，兩人每天隔著牆對話，成為彼此最大的慰藉，隨著時間的變化，兩人關係也互有消長，一幕幕令人驚異、令人匪夷所思的事件卻也一一發生。

曾獲多項金鐘獎肯定的導演林志儒，延續他作品的詭譎氛圍，在「牆」中，讓日據時代的客家青年阿義，在拯救（或扼殺？）日本左翼偶像的過程中，陷入人格分裂的狀態。 　　故事描述台灣白色恐怖的三、四○年代，一個客家青年阿義（游安順飾），因特殊的原因將自己崇拜的日籍政治領袖（蔭山征彥飾），偷偷藏在家裡，兩個男人隔著牆，一位是來台灣追求美麗社會主義天堂的人，一位則是敬仰他的人。在動盪的時局中，兩人每天隔著牆對話，成為彼此最大的慰藉，隨著時間的變化，兩人關係也互有消長，一幕幕令人驚異、令人匪夷所思的事件卻也一一發生。

After discovering a disturbing video from a night she doesn't remember, sixteen-year-old Mandy must try to figure out what happened and how to navigate the escalating fallout.

After discovering a disturbing video from a night she doesn't remember, sixteen-year-old Mandy must try to figure out what happened and how to navigate the escalating fallout.

2011 年 3 月 11 日。東北を巨大地震が襲ってから 3 年。心理学科准教授の川島瑛子（山田キヌヲ）は、 　　「311」に関するある調査を行っている。一方、同じ大学の演劇学科に通う水谷薫（樋井明日香）は、卒業公演 　　として「311」をテーマした芝居の稽古に余念がない。交わるはずのない２人だったが…。

Two girls experience anxieties of their own in a story set in the aftermath of the 2011 earthquake and subsequent nuclear disaster in Japan. One girl is a professor studying the dreams related to the earthquake. The other is a student who has a nightmare while rehearsing for a play about the disaster.

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

纳瓦彭拍摄的网络短片，《天才枪手》女主Lynn的荧幕处女作。

呆呆湾新综艺