‘Lost in Starlight’ and South Korean Animation
《迷失星光》与韩国动画

‘Lost in Starlight,’ now streaming on Netflix. All images courtesy of Netflix.
《迷失星光》现已在 Netflix 上线。所有图片由 Netflix 提供。

This week, I’m looking at a feature film which debuted on Netflix last Friday. Lost in Starlight is a South Korean film, and as such I’d argue it’s clearly not anime, although other opinions are available. Been there, done that – I tackled the “What is anime?” argument in this column last January, through the lens of Castlevania.
本周我要探讨的是上周五在 Netflix 首映的一部电影。《迷失星光》是韩国作品，因此我认为它显然不属于日本动画范畴——当然也存在不同观点。关于"何为动画"的争论，去年一月我就通过《恶魔城》的视角在本专栏讨论过这个话题。

What’s less contentious is that Lost in Starlight is influenced by anime; it could easily be mistaken for anime; and it offers many of the same pleasures as anime. I don’t think it’s a great film, but it’s tremendously enjoyable and very interesting as a comparative case study. It may even represent a milestone of sorts.
更无争议的是：《迷失星光》深受日本动画影响；它极易被误认为日本动画；且能提供与日本动画相似的观赏乐趣。虽然我不认为这是部杰作，但它极具娱乐性，作为比较研究的案例也很有意思，甚至可能代表着某种里程碑。

I discuss Lost in Starlight further down. First, though, some background re South Korea and anime.
关于《迷失星光》的深入讨论将在后文展开。不过首先，我们需要了解韩国动画的发展背景。

South Korea’s Robin Hood and a country shower
韩国的罗宾汉与举国沐浴的奇观

South Korea has produced many animated films, of course. The country’s first cartoon feature was 1967’s The Story of Hong Gil-Dong, a lively if eccentric film about a Robin Hood-style hero who contends with cruel human authorities. It also had fantasy interludes, including a skeleton dance evoking Disney’s debut Silly Symphony. Hong Gil-Dong was a massive success in its home country, though it was later “lost” and only recovered through a couple of prints found in 2008 – in Japan, no less! I wrote about the film for another website.
韩国当然制作过许多动画电影。该国首部动画长片是 1967 年《洪吉童传》，这部活泼又古怪的作品讲述了这位罗宾汉式英雄对抗残暴统治者的故事。影片还穿插着奇幻段落，包括一段令人联想到迪士尼首部《糊涂交响曲》的骷髅之舞。《洪吉童传》在韩国本土大获成功，虽然后来一度"失传"，直到 2008 年才通过两卷胶片拷贝重见天日——发现地竟是在日本！我曾为其他网站撰写过关于这部影片的文章。

Of the other South Korean animated films I’ve seen, I was impressed by 2017’s The Shower (above), a 48-minute film telling the delicate story of a young girl and boy’s encounter in the country. It’s based on a nationally famous short story (written in 1959 by Hwang Sun-Woon) but Anglophone viewers may be reminded of the children’s interactions in Totoro. Or, indeed, of Makoto Shinkai’s 2013 The Garden of Words, another short story of friendship blooming in the rain. To repeat, though, The Shower’s story predates Shinkai by decades: I wrote more on it here.
在我看过的其他韩国动画电影中，2017 年的《阵雨》（上图）令我印象深刻。这部 48 分钟的影片细腻讲述了一对少男少女在乡间的邂逅，改编自韩国著名短篇小说（黄顺元 1959 年作品），但英语观众可能会联想到《龙猫》中孩子们的互动，或是新海诚 2013 年《言叶之庭》——另一段在雨中萌发的友情故事。不过要再次说明，《阵雨》的原著故事比新海诚早了数十年：我在此文中曾详述过。

I also enjoyed the 2016 zombie apocalypse film Seoul Station, an animated companion to the live-action Train to Busan. The director of both, Yeon Sang-ho, also made the gritty animated drama The King of Pigs (2011), which I found less digestible. But while I’m talking horror, I should recommend a live-action series on Netflix, Parasyte: The Grey. Excellent and inventive, it’s a South Korean reworking of a venerable Japanese source – the 1989 Parasyte manga by Hitoshi Iwaaki, about a person who gets merged with an intelligent “alien” parasite during a gruesome invasion.
我还喜欢 2016 年的僵尸末日电影《首尔站》，这是真人电影《釜山行》的动画前传。两部作品的导演延尚昊还执导了风格粗粝的动画剧情片《猪猡之王》（2011 年），不过我觉得这部比较晦涩难懂。既然提到恐怖题材，我得推荐 Netflix 上的一部真人剧集《寄生兽：灰色部队》。这部改编自日本经典的作品精彩又富有创意——其蓝本是岩明均 1989 年的漫画《寄生兽》，讲述在恐怖的外星生物入侵中，人类与高智商"寄生兽"融合的故事。

In the original manga and anime adaptation, it was a Japanese schoolboy who was merged (what are the odds?). In The Grey, though, the character is a deeply traumatized South Korean woman, sending the story a very different direction. One of The Grey’s achievements is to cause problems for all those pundits who insist that it’s wrong to transpose an anime story to America and recast it with American actors. Hey, if South Korea can do it, then why not America?
在原版漫画和动画改编中，被融合的是一个日本男学生（这概率有多大？）。但在《The Grey》里，这个角色却变成了一个心灵受创的韩国女性，将故事引向了截然不同的方向。该片的一大成就是给那些坚持"将动漫故事移植到美国并用美国演员重拍是错误的"的评论家们制造了难题。既然韩国能做到，美国为什么不行？

Most AWN readers will know South Korean studios have also provided under-the-line work for mountains of animation produced by America and Japan. These studios include JM Animation, which animated much of Nickelodeon’s Avatar: The Last Airbender, which is one of the main shows held up by people arguing anime needn’t be Japanese.
大多数 AWN 读者都知道，韩国动画工作室也为美日两国海量动画提供了底层制作服务。其中 JM Animation 工作室就参与了尼克儿童频道《降世神通：最后的气宗》的主要动画制作——这部作品常被用作"动画不必产自日本"的论据。

Another Airbender studio, DR Movie, contributed to hundreds of anime titles, including the iconic Death Note. In 2022, the studio returned to that franchise, animating The Simpsons’ spoof of the show. Meanwhile, Studio Mir was founded in 2010 to animate much of Airbender’s sequel The Legend of Korra – Mir’s American-produced version of Devil May Cry hit Netflix this spring.
另一家参与《降世神通》制作的 DR Movie 工作室，曾为包括经典之作《死亡笔记》在内的数百部日本动画提供服务。2022 年，该工作室重返这个 IP，操刀了《辛普森一家》对该剧的恶搞片段。而 2010 年成立的 Studio Mir 工作室则承担了《降世神通》续作《科拉传奇》大量动画制作——今年春天，该工作室美国制作的《鬼泣》动画版已在网飞上线。

South Korea has also provided source material for anime. In recent years, God of High School and Tower of God were both based on South Korean “manhwa” strips, and Why Raelenia Ended Up at the Duke’s Mansion started as an online novel. But the series fans are fighting about now is Solo Leveling, a fantasy actioner based on another South Korean online novel.
韩国也为动漫提供了素材来源。近年来，《高校之神》和《神之塔》均改编自韩国网络漫画，《莱尔娜为何栖身公爵府邸》则源自网络小说。而当下引发粉丝热议的《我独自升级》，则是根据另一部韩国网络小说改编的奇幻动作作品。

This May, the series dominated the Crunchyroll Anime Awards 2025, largely determined by fan votes, where Solo Leveling took “Anime of the Year” and many other prizes. Cue arguments over whether that proved the supremacy of Solo Leveling, or whether it just shows the fatuity of an awards ceremony where “ordinary” fans pick the winners.
今年五月，该系列在主要由粉丝投票决定的 Crunchyroll 动画大奖 2025 中大获全胜，《我独自升级》斩获"年度最佳动画"等多项殊荣。这随即引发争论：究竟该结果证明了《我独自升级》的至高地位，还是仅仅暴露出由"普通"粉丝决定奖项归属的评选机制存在缺陷。

Lost in Starlight  《迷失星光》

Back to Lost in Starlight, which is a densely-packed movie spectacle set in 2051. In America, the space program is back on track. One could take that as a vote of confidence in the visions of a certain Mars-obsessed South African billionaire. I prefer, though, to take Starlight as showing an alternate timeline where the history of the space program developed very differently, a la the live-action U.S. drama For All Mankind or one of my favorite anime TV series, 2003’s Planetes.
回到《迷失星光》，这部设定在 2051 年的电影充满了密集的视觉奇观。在美国，太空计划重回正轨。有人可能将此视为对那位痴迷火星的南非亿万富翁愿景的信任投票。不过，我更愿意将《迷失星光》视为展示了一个太空计划历史截然不同的平行时间线，就像真人美剧《为全人类》或我最爱的动画剧集之一——2003 年的《星空清理者》那样。

The lead of Lost in Starlight is Nan-Young, a South Korean who’s determined to travel on an upcoming mission to Mars - her astronaut mother was lost on a previous Mars mission. But despite her single-minded purpose, Nan-Young meets an unexpected distraction; the handsome, bumbling Jay, whom she finds exasperating but delightful.
《迷失星光》的主角南英是一位韩国人，她决心参加即将启程的火星任务——她的宇航员母亲在之前的火星任务中失踪了。尽管南英一心追求这个目标，却遇到了意外的干扰：英俊但笨手笨脚的杰伊，这个让她既恼火又心动的男孩。

One thing worth highlighting is the film is helmed by a woman, which is hardly common in animated features even now. The director, Han Ji-Won, previously made the 2015 feature Clearer Than You Think (trailer), 2023’s The Summer (trailer) and the short The Sea on the Day the Magic Returns (also 2023). None seem to have had much Anglophone distribution to date. However, Lost in Starlight’s seed was a 90-second TV commercial Han made which can currently be viewed here.
值得一提的是，这部影片由女性执导，即便在当今动画长片领域也实属罕见。导演韩智婉此前曾执导 2015 年作品《比想象更清晰》（预告片）、2023 年作品《那个夏天》（预告片）以及短片《魔法归来之日的海》（同为 2023 年）。这些作品迄今似乎都未在英语地区广泛发行。不过，《星光迷途》的创作契机源自韩导拍摄的一支 90 秒电视广告，目前可在此处观看。

Interviewed by the Hollywood Reporter, Han specified she didn’t want the film “to look like Japanese anime (sic). I wanted it to reflect how young Korean people today look, dress and do makeup. That Korean-ness was important to me.” And yet, as a foreigner with particular blinkers – I know Japan’s pop-culture well, South Korea’s far less – I found Lost in Starlight overwhelmingly anime-ish. Would that my “trained eye” could tell the difference, but if I’d seen a Japan-dubbed version sans Korean lettering and place names, I’d have failed the taste test.
在接受《好莱坞报道》采访时，韩女士特别强调她不想让这部电影"看起来像日本动漫（原文如此）。我希望它能反映当今韩国年轻人的外貌、着装和化妆方式。那种韩国特质对我很重要。"然而，作为一个戴着特定文化滤镜的外国观众——我对日本流行文化很熟悉，对韩国却知之甚少——我依然觉得《星光迷途》充满了日漫气息。但愿我的"专业眼光"能分辨出差异，但如果看到去掉韩文字幕和地名的日语配音版，我恐怕通不过这场审美测试。

In particular – and judging by online comments, I’m far from the only person to think this – Starlight’s presentation feels heavily influenced by a director I’ve already mentioned, Makoto Shinkai. There’s the same shiny urban futurism and heavily compacted detail that was already in place in Shinkai’s 2007 5 Centimeters per Second (trailer), long before he was mainstream.
特别是——从网络评论来看，绝非只有我一人这么认为——《星光迷失》的影像风格明显受到我已提过的新海诚导演的影响。那种闪亮的都市未来主义风格与高度压缩的细节密度，早在新海诚 2007 年《秒速 5 厘米》（预告片）时期就已成型，远在他成为主流导演之前。

It goes past that, though. There’s also the fact that Lost in Starlight’s teasers and trailers strongly evoke an even earlier Shinkai film, his 2002 short Voices of a Distant Star. And if Lost in Starlight “grew” out of a brief commercial, the same is arguably true of Shinkai’s big breakout, 2016’s Your Name. That film was heavily anticipated by a 2014 ad campaign by Shinkai called “Cross Road,” about two converging youngsters who’ve never met – you can watch it here and I discuss the context here.
然而，事情远不止如此。《迷失星光》的预告片和宣传视频还强烈唤起了人们对新海诚更早期作品的记忆——他 2002 年的短片《星之声》。如果说《迷失星光》是从一则简短广告"生长"而来，那么新海诚 2016 年的现象级作品《你的名字。》也大抵如此。这部影片在 2014 年就因新海诚执导的广告短片《十字路口》而备受期待，该广告讲述两位素未谋面的年轻人命运交汇的故事——你可以在此观看，我在此处讨论过相关背景。

I’m not criticizing Lost in Starlight as derivative, though. Actually, it’s way less derivative than one of Shinkai’s own films – his disappointing 2011 Children Who Chase Lost Voices, which had Miyazaki-isms all through it. Starlight is also much better than a previous Netflix bid to make a post-Shinkai film. That was 2018’s Flavors of Youth, a Japan-China co-production which actually involved the “Shinkai” studio, CoMix Wave. “Flavors is respectable, but it often feels obvious and disappointingly dull,” I wrote in my review, though you can try it yourself on Netflix and the trailer’s below.
我并非批评《迷失星光》缺乏原创性。实际上，它比新海诚自己的某部作品更具原创性——那就是令人失望的 2011 年作品《追逐繁星的孩子》，全片充斥着宫崎骏式的痕迹。《星光》也比网飞此前试图打造的后新海诚风格电影优秀得多。我指的是 2018 年中日合拍的《肆式青春》，该片甚至由新海诚所属的 CoMix Wave 工作室参与制作。"这部作品值得尊敬，但时常显得刻意且令人失望地乏味，"我在影评中写道，不过你仍可在网飞观看正片，下方附有预告片。

Ji-Won did acknowledge Shinkai as an influence in her interviews, though as part of a mix that also included Miyazaki, Satoshi Kon and Isao Takahata’s 1991 Only Yesterday. (I suppose there’s a slight analogy in Only Yesterday’s scenes of a young adult couple in the film’s second half.) Given one of Starlight’s strongest strands is the heroine’s determination to go to an impossibly remote place where her mother vanished, I can’t help but wonder if the film was also influenced by the 2018 series A Place Further Than The Universe, which I praised in this column a few weeks ago.
智婉在采访中确实承认新海诚对她的影响，不过这份影响清单还包括宫崎骏、今敏以及高畑勋 1991 年的作品《岁月的童话》。（我认为《岁月的童话》后半段年轻情侣的场景与之存在微妙呼应。）考虑到《星光迷失》最动人的主线是女主角决心前往母亲消失的遥不可及之地，我不禁怀疑这部影片是否也受到 2018 年动画《比宇宙更远的地方》的启发——几周前我曾在专栏中盛赞过这部作品。

I don’t think Lost in Starlight is that good. That’s despite me loving super-dense urban spectacle ever since I saw Akira four decades ago. Starlight’s visual density is ferocious, but I didn’t get nearly enough sense of specific places, of where characters are from scene to scene, even shot to shot. The cutting is monotonously fast, in scenes where that’s perversely unnecessary.
我并不认为《迷失星光》有那么出色。尽管自四十年前看过《阿基拉》以来，我一直痴迷于超高密度的都市奇观。该片的视觉密度确实惊人，但我几乎感受不到场景的具体方位感，角色在镜头切换间甚至单镜头内的空间关系都模糊不清。剪辑节奏毫无必要地快得单调，这种处理在多数场景中显得矫揉造作。

Take the first scene in Nan-Young’s apartment. It’s the obvious chance to establish who Nan-Young is and how she lives. Instead, she has to contend with a call from a colleague who appears as a life-size hologram, as well as a bumptious mini-droid. The extraneous detail is so noisy that it’s a bar to the viewer’s immersion, even though we want to be immersed in the film’s beautiful world.
以南英公寓的第一场戏为例。这本是确立南英身份与生活方式的绝佳机会。然而她却要应付同事的全息投影来电和一台聒噪的迷你机器人。这些冗余细节如此喧宾夺主，反倒阻碍了观众沉浸——尽管我们本渴望沉醉于影片打造的瑰丽世界。

Starlight is also hampered by ridiculously murky storytelling in its very first minutes. There’s no mystery, no narrative intrigue, just lots of irritation. Right at the start, there’s a flashback with the mother’s fate on Mars. That’s followed directly by a scene with Nan-Young on Mars, which turns out to be both a VR simulation and a hallucination that Nan-Young is having within the simulation. Heck, if we’re talking Mars movies, I had enough uncertain realities in Total Recall!
《星光迷失》开篇几分钟就因荒谬混乱的叙事而显得晦涩难懂。这里没有谜团，没有引人入胜的情节，只有令人烦躁的堆砌。影片伊始便闪回母亲在火星的命运场景，紧接着直接切换到南英身处火星的画面——后来发现这既是虚拟现实模拟，又是南英在模拟中产生的幻觉。天啊，要说火星题材电影，《全面回忆》里的虚实交错已经够让人摸不着头脑了！

Then there’s a rapid-fire backstory referencing three previous Mars missions – Nan-Young’s mother was lost on one. A more recent mission recovered artefacts from that tragedy, including an old-style record turntable that’s now in Nan-Young’s possession and becomes central to the film. But it’s all gabbled so quickly that I honestly wasn’t sure of one very basic point. Was Nan-Young involved on the third recovery mission, which would mean she’s been to Mars before?
随后剧情快速交代了背景故事，提及之前三次火星任务——南英的母亲在其中一次任务中失踪。最近的一次任务找回了那场悲剧的遗物，包括一台老式唱片机，如今为南英所有，并成为影片的关键线索。但信息如连珠炮般抛出，坦白说连一个最基本的情节我都没能确定：南英是否参与了第三次回收任务？若真如此，就意味着她曾去过火星？

No, she wasn’t, and that’s “more or less” indicated in the exposition, but it’s not spelled out as one simple line of dialogue could have done. That may just mark me out as a dumb viewer, the kind who needs everything shouted twice. But the recent release of the new Lilo & Stitch reminded me of what its director Chris Sanders told me about the original. He had to repeat one particular story point several times in the dialogue, that the adult Nani was the sister of the much-younger Lilo, rather than her mother or her aunt. When a story point is that fundamental to the film, it bears repeating.
不，她不是，这一点在剧情交代中"或多或少"有所暗示，但并没有像用一句简单台词那样明确点明。或许这只能说明我是个愚钝的观众，那种需要把所有事情都重复说两遍才能明白的人。但最近新版《星际宝贝》的上映，让我想起原版导演克里斯·桑德斯曾告诉我的话。他不得不在对话中多次重复一个关键情节设定：成年女性娜妮其实是年幼莉萝的姐姐，而非母亲或阿姨。当某个情节对电影如此重要时，确实值得反复强调。

Of course, Starlight has far bigger story issues. There’s a ridiculous coincidence regarding a demo music track that should have been thrown out in the first draft – there are tons of ways it could have been introduced believably. True, Shinkai’s blockbuster film Your Name was all about a thread of fate, but that was sewn into its story with care and elegance. I had much less trouble with Starlight’s suggestions of magic near the end, as the story’s main events are rationally grounded. But the music track coincidence? Nope, not buying it.
当然，《星光》在剧情上存在更大的问题。关于一首样带音乐的荒谬巧合本应在初稿阶段就被舍弃——明明有无数种方式可以更可信地引入这个情节。诚然，新海诚的爆款电影《你的名字》通篇都在讲述命运红线，但那种联系被精心而优雅地编织进了故事里。相比之下，我对《星光》临近结局时暗示的魔法元素倒没那么抵触，毕竟故事主线始终建立在合理基础上。但那段音乐巧合？抱歉，实在难以信服。

The music track links to a slow-revealed backstory about Nan-Young’s boyfriend, Jay, and the band he used to be in. And… well, the backstory might have worked in a TV serial with enough time, but it’s pitifully undercooked as a film subplot. If there’s an anime comparison here, it’s with the worst anime recap films, the ones that rush through a long TV story while leaving out the things which made it involving. In Starlight, you can practically see an “old-flame love triangle” plotline crashing to the cutting room floor.
这首配乐缓缓揭开了南英男友杰伊及其昔日乐队的往事。然而……这段背景故事或许适合在长篇电视剧中徐徐展开，但作为电影支线却显得仓促单薄。若要与动漫类比，最贴切的莫过于那些糟糕的动漫总集篇电影——它们草草掠过漫长的电视剧情，却舍弃了最动人的精髓。《星光迷途》中，观众几乎能目睹"旧爱三角恋"的情节被生生剪掉的痕迹。

And yet, as I said, I enjoyed Starlight greatly. Partly, I confess, I’m still a sucker for dense spectacle. It frustrated me for the reasons above, and I thought it was used badly at times, but darn it, the sheer volume of detail is awesome all the same. Some of the images in the closing 20 minutes are sensational; there’s a moment with Nan-Young running that looks like a tribute to Satoshi Kon’s Millennium Actress (2001), and it’s splendid enough to feel earned.
然而，正如我所说，我依然非常享受《星光》。坦白讲，部分原因是我至今仍对繁复的视觉奇观毫无抵抗力。尽管上述问题让我感到沮丧，某些场景的运用也欠妥，但该死的——那些海量的细节呈现依然令人叹服。最后 20 分钟里的某些画面堪称震撼；其中南英奔跑的镜头仿佛是对今敏《千年女优》（2001）的致敬，其精彩程度完全配得上这份致敬。

Such moments are so wholeheartedly overblown that they’re indistinguishable from “real” anime: a teardrop in zero-gravity, a radiant cosmic record-player. Then there are all the film’s blink-and-miss bits of tech, from driverless cars to foldaway wardrobes. There’s also the very unusual device (if you’re watching the Korean-language version) of having the astronaut characters switch blithely between Korean and English in the middle of a conversation, which “grounds” the film more believably than five minutes of techno-speak.
这些瞬间被如此夸张地呈现，以至于与"真正"的动漫难以区分：零重力中的一滴泪珠，闪耀的宇宙留声机。影片中还有诸多稍纵即逝的科技细节，从无人驾驶汽车到折叠式衣柜。更不寻常的是（如果你观看的是韩语版本），宇航员角色会在对话中随意切换韩语和英语，这种处理比五分钟的技术术语更能让影片显得真实可信。

Partly it’s a relief to see an anime-style film with a grown-up couple in a grown-up relationship. So little “real” anime does that, as I ranted in this column not long ago. That Starlight feels Shinkai-esque is especially notable. Shinkai himself told me that he was thinking of depicting a grown-up relationship in a future film. Maybe he’ll use Starlight as a model.
看到一部描绘成熟情侣关系的日式动画电影，某种程度上让人松了口气。正如我不久前在本专栏中抱怨的那样，真正展现这种关系的动画作品实在太少了。《星光迷失》所呈现的新海诚风格尤为引人注目。新海诚本人曾告诉我，他正考虑在未来作品中刻画成年人的恋爱关系。或许他会以《星光迷失》作为参考范本。

The relationship between Nan-Young and her boyfriend Jay is well-served in the character animation. In the early scenes, it felt like the characters were drowning in the background details, but the main transitions of the couple’s relationship are drawn with charm and life, even in the painful moments.
南英与男友杰伊的关系通过角色动画得到了充分展现。尽管开场的几组镜头里人物仿佛淹没在背景细节中，但这对情侣关系的关键转折点都被绘制得充满魅力与生命力，即使在痛苦时刻也不例外。

There are inconsistencies. For example, during a (possible) break-up scene, the animation highlights Nan-Young’s expression when she makes a miserable decision. However, the low-frame rate in those seconds pushes the viewer out of the moment, much like the noisy backdrops in other scenes. (If you’re watching the film on Netflix, the moment I’m talking about is around 51-55.) Still, it doesn’t change the fact that the actual frames of Nan-Young’s expression are lovely.
影片存在一些不一致之处。例如，在（可能的）分手场景中，动画着重表现了南英做出痛苦决定时的表情。但那些瞬间的低帧率会让观众出戏，就像其他场景中嘈杂的背景一样。（如果你在 Netflix 观看这部电影，我提到的片段大约在 51-55 分钟处。）不过，这并不改变南英表情原画本身非常动人的事实。

Now I just want to see Han Ji-Won's animation backlist from the last decade, which looks very interesting from the trailers. How about it, Netflix?
现在我只想看看韩智媛过去十年的动画作品清单，从预告片来看非常有趣。Netflix，你觉得怎么样？

Andrew Osmond is a British author and journalist, specialising in animation and fantasy media. His email is andrew_osmond53@hotmail.co.uk.
安德鲁·奥斯蒙德是一位英国作家兼记者，专注于动画与奇幻媒体领域。他的电子邮箱是 andrew_osmond53@hotmail.co.uk。