那年盛夏，少女夏文萱（许恩怡 饰）和少年苏升华（陈卓贤 饰）因音乐相遇，一份青涩的爱恋藏于心里，却无奈被现实打破……转眼数十年，已成音乐人的苏升华（郑伊健 饰）在逐梦的过程中逐渐迷失方向，陷入人生最低谷，却在医院偶遇重逢少时知己夏文萱（蔡思韵 饰）……当与一个非常思念的人久别重逢，你会和ta说些什么？

那年盛夏，少女夏文萱（许恩怡 饰）与少年苏升华（陈卓贤 饰），因一张唱片相遇，但对这段青涩的爱情，不知能走多远……　　多年后，已成为音乐人的苏升华（郑伊健 饰），在人生低谷时，意外重逢夏文萱（蔡思韵 饰）。被病困的夏文萱心痛眼前苏升华变化如此，决定为他送上最后礼物，希望这段旅程能让他找到人生改变……

在北京创业的李志强，接到父亲去世的消息，回乡处理后事。老家正在进行旅游开发，在如何处理老房子的问题上，一家人发生了分歧：弟弟想要移民搬迁，李志强想要重建，而继母则希望维持现状。 犹豫不决的李志强，在小镇上生活了数天，一系列尴尬事接踵而至。

在北京创业的李志强，接到父亲去世的消息，回乡处理后事。老家正在进行旅游开发，在如何处理老房子的问题上，一家人发生了分歧：弟弟想要移民搬迁，李志强想要重建，而继母则希望维持现状。 犹豫不决的李志强，在小镇上生活了数天，一系列尴尬事接踵而至。

Truman Capote's semi-autobiographical first novel about coming of age in the Deep South during the 1930s centers on 13-year-old Joel Sansom (David Speck), who reunites with his estranged father at the family's shabby plantation, where he must contend with his father's feisty mistress and a strange cousin. Against this less-than-ideal backdrop, Joel slowly matures into an upstanding young man.

Golf, along with his friends and parents, lies to Bank about him still being alive. He told Tar that he still misses Bank. Tar and Parn reply that they feel bad about lying to Bank as well. This is the preview of a whole new chapter between Golf and Bank in the anticipated sequel series "My Bromance 2: 5 Years Later."

你的大脑像男人还是像女人那样思考是天生的吗？真的是女性更善谈，男性更不易动感情吗？你的第二和第四根手指的长度比例和这有什么关系？我们也许都习惯性地认为，男人和女人是一样的，但该系列片将会表明，男女是完全不同的。从人类刚刚出现时起，就已注定了这种不同。不仅如此，不是所有的男人都有男人的大脑，也不是所有的女人都有女人的大脑：“身体性别”和“大脑性别”并非同样的事。在生动有趣的三集节目中，讲述了性别差异的六大区域：情绪认知、同理心、交流、基本认知、竞争以及大脑解剖结构。科学家们将把真实生活中的人纳入测试当中。结果有的很有趣，有的也很刺激，这是一个发人深思，而又非常有趣的旅程，将会揭开有关性别定义的神秘面纱，揭示出令人惊讶的真相。我们即将发现“一点点的自信”如何能在伙伴关系中发挥重要作用，如何成为幸运儿。

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.