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More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far.
A boyfriend, who can barely speak English, embarks on an overseas trip with his girlfriend, who takes charge of planning everything and even handles communication on his behalf. However, their journey turns into a nightmare when they barely make it to their accommodation, and strange knocking sounds start emanating from the room. To make matters worse, the girlfriend disappears while taking a shower, and the police immediately suspect the boyfriend. With meticulously crafted initial ominous situations, such as the flight delays, the rental car agency closing its doors, and a major traffic accident experienced shortly after getting into the car, audiences are easily drawn into the protagonist’s intense quest to find his missing girlfriend. Despite the language barrier, he manages to evade the relentless investigation of the local police and skillfully uncovers clues. Unexpected obstacles keep appearing one after another, propelling the story forward without a moment to catch your breath. At the climax of the confusion, when the full truth of the incident is revealed, and viewers are met with a shocking revelation that leaves them gasping in astonishment. (PARK Got)
More than once, the protagonists in Mimang wonder where they are and where they’re going—it is a concrete, geographical question born from walking around the streets of Seoul, but as the film progresses, that urban journey also proves to be an existential one. We accompany the characters in some stretches of their path—many years separate each of the episodes that make up the film, and that distance reveals changes through what remains. This is not a film about earthquakes, but about small transformations, and the marks of time can be seen not only in the actors’ bodies, but also in that other omnipresent protagonist that is Seoul, whose vitality invades every shot. Like others before him (it’s inevitable to think about Truffaut or Linklater), here, Kim Taeyang reminds us that cinema is the best time machine that has been invented so far.
源自：https://www.mardelplatafilmfest.com/38/en/pelicula/mimang
弗朗索瓦·森蒂内尔有双重身份。白天，他是留尼旺岛最出名的警察，以其强硬的手段和花衬衫而闻名，总是开着他那著名的黄色越野车追捕罪犯。但在其他时间，森蒂内尔也是一个有魅力的歌手。
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