伊丽莎白(苏菲·玛索 Sophie Marceau 饰)和英国贵族查理(斯蒂芬·迪兰 Stephen Dillane 饰)之间有一个不可告人的交易——她给他三个晚上,为他生下孩子,然后安静地离开。查理给了伊丽莎白一笔钱用以还清她父亲的债务。
伊丽莎白按照约定,诞下女儿露易莎。但7年来她心火不灭——她记挂着女儿,每个女儿的生日,她都在画簿上写画心事。同时令她念念不忘的,还有当时与查理之间若有若无的感情。
她来到查理家,要当露易莎的家庭老师,查理惊恐要她赶出家门,最终只答应给她一个月教导调皮的女儿。露易莎慢慢被调教得有了修养,而伊丽莎白也与查理旧情复燃。
在已经变成植物人的妻子和伊丽莎白之间,查理将如何选择?
Liz and her daughter Amy move to Hamelin where a dark secret in Liz's past is uncovered by the restless spirit of the Pied Piper, who seeks out those who have gotten away with a crime, and punishes them by taking away their children.
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.
Two great friends are reunited after five years. Among so many things that have changed, the resumption of connection awakens an old feeling for which they remain unprepared.