微望

More than o)_nce,*
the protagonists in Mimang w.o: nder where they a-re and, where they’**re (going—it i];$s a concre
te, geographical que s/?-.#tion. born !?f$rom wal` .[k:/ing a- /round ; t_/h$e streets .o[*f Seoul, but?`@@ /`a`s the film prog)res, ^*s__e;s, tha;_(t urban .jou$rney als[,,o= ?.-pro]+ves to be an existentia (l one. We%_) ac!company the+ c__haracters in some stretches of thei+r path—many%` y=ears sepa rate /each of the episodes that make up th,^ e %fi:)lm, and that distanc?[/e reveals changes=` t?\%hr($ou@`\gh what rema \ins. T*hi/#@s is n#
ot a fil
m ab*.[out earthqu_akes, but a- 
bout) smal
l :tra_%_+nsformatio^`ns, and the ma.;!rks of time# can be seen not on!.ly i :n the a.ct%= *ors’ bodies, but als`o in that othe,_r omnip[@resent p_]ro.# t/agoni:^s?t that is Seoul,:  whos[ e vitality /inv ?a+ des eve`$ry shot. Like ot;#=]h,^@ers befo;_ re him (i!t’s i(nevitable to+) _t+;hi n*%_k abou-!t Truffaut or Linklater),
` here,[#` Kim% Taeyang_[ remin\ds
us th
:,at# cinema% is the +bes :t time ma!chine that .(
has been i:nvented ]$so +- far. #_ $