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Erng was Mew’s first love. After she disappeared one day suddenly, he was not able to move on. Ten years later, just when he was ready for the idea of moving on, his first love has returned. However, there is something quite different about her… something unworldly.

The kind-hearted, innocent and optimistic Ba Dun is a mermaid, who was arrested as soon as he came ashore after taking human form. After escaping, he met the arrogant female president Jiang Su Su. Initially, their differences in character are the source of many misunderstandings. But soon, under the influence of the creature from the sea, Su Su not only opens up more to people, but also opens her heart. However, the feeling that arises between them becomes questionable when staying too long on land merman, starting to feel its effects.

Hoshino Asuka is dumped by her boyfriend, who is a colleague at the same workplace, on her 25th birthday. To make matters worse, her apartment catches fire and she can't return to live in it. Asuka finds herself wishing for happiness and the elephant god Ganesha suddenly appears. He had lived with Nogami Kohei in that apartment several years ago. With the appearance of Ganesha, Asuka learns what true happiness is.

A spirited comedy that pokes fun at old-style Cantonese filmmaking and Wong Kar-Wai's 1990s art-house hits, but ever so gently. Dayo Wong plays a WK-W like director who is sent back 30 years and forced to make a movie under the conditions of the time. The film contains many refernces for film buffs, from Kwan Tak-Hing's cheesy "Wong Fei-Hung" series to the hilarious antics of "La Rose Noire". Review by Paul Thompson: You'll probably laugh, but you might not have gotten the object of satire by reading the subtitles, which is why I have provided this summary. I'm pretty sure Wong Jing was involved in this -- in fact one of the characters is Wong Jing as a young man. If you are a die hard Wong Kar Wai fan, you will laugh when you watch this film. "Those Were the days" speculates on what would happen if a hot international art house director (a.k.a. WKW) were transported back in time to the 1960s Hong Kong film industry. Highlights include: WKW meets Wong Jing as a child and profoundly influences career; WKW attempts to make his kind of films with the resources, talent, and expectations of 1960s HK filmmakers, and a lot of other Hong Kong /Wong Jing style zaniness.