拉瓦的母亲把他送到海边和他年轻的叔叔住在一起，他马上开始工作。一天，他发现一个人被冲上了岸。在医院里，Wut医生诊断出这个人患有健忘症，他的叔叔自愿将Lava作为他的看护人。熔岩命名他为波，并重新分配他所有的职责给陌生人。Wave对体力劳动的挑剔和无能令人惊讶，暗示着它过去的骄纵。 Lava's mother sends him to live with his young uncle by the beach and he's immediately put to work. One day, he finds a man washed up on the shore. At the hospital, Dr. Wut diagnoses the man with amnesia and his uncle volunteers Lava as his caretaker. Lava names him Wave and reassigns all his duties to the stranger. Wave is surprisingly fussy and inept at manual labor, hinting at a pampered past.
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.
Ben Stiller tells the story of his parents, comedy icons Jerry Stiller and Anne Meara, exploring their impact on both popular culture and at home, where the lines between creativity, family, life and art often blurred. In the process, Stiller turns the camera on himself and his family to examine Jerry and Anne’s enormous influence on their lives, and the generational lessons that we can all learn from those we love.
