Seb 要向女儿 Emma 宣布一个痛苦的消息——他和她母亲即将离婚。无奈之下，他只能说出真相：他喜欢男人。这消息对 Emma 而言如晴天霹雳，质疑与困惑瞬间涌上心头。为了让女儿理解自己，Seb 带着她回到了 2000 年。就在那一年，一场刻骨铭心的青涩恋爱，彻底改变了他的人生轨迹。

当 Seb 向女儿 Emma 宣布他和她母亲将要离婚这一痛苦的消息时，他不得不道出真相：他喜欢男人。这个消息对 Emma 来说犹如晴天霹雳，质疑与不解接踵而至。为了让女儿能够理解，他带着女儿回到了 2000 年，那一年，一段刻骨铭心的青涩恋情，彻底改变了他的人生。

陈惠惠是含着金汤匙出生的千金大小姐，父母一手打点好了她的终身大事，这让陈惠惠感到十分愤怒。为了反抗父母之命，陈惠惠选择了离家出走，前往上海，在那里，隐藏着她的爷爷和奶奶之间的一段动人的感情。 途中，陈惠惠结识了名叫陈大宝的青年。陈大宝和朋友阿土共同发明了能增强手机信号的机器，他希望能凭借此发明申请到专利，在上海拼搏出一片属于自己的天空。谁知道，陈惠惠和陈大宝刚一来到上海就双双遭遇了滑铁卢，陈惠惠丢掉了现金和信用卡，陈大宝的发明让他血本无归。走投无路的两人相依为命，准备去投奔陈大宝的朋友小康。

陈惠惠是含着金汤匙出生的千金大小姐，父母一手打点好了她的终身大事，这让陈惠惠感到十分愤怒。为了反抗父母之命，陈惠惠选择了离家出走，前往上海，在那里，隐藏着她的爷爷和奶奶之间的一段动人的感情。 途中，陈惠惠结识了名叫陈大宝的青年。陈大宝和朋友阿土共同发明了能增强手机信号的机器，他希望能凭借此发明申请到专利，在上海拼搏出一片属于自己的天空。谁知道，陈惠惠和陈大宝刚一来到上海就双双遭遇了滑铁卢，陈惠惠丢掉了现金和信用卡，陈大宝的发明让他血本无归。走投无路的两人相依为命，准备去投奔陈大宝的朋友小康。

This is not the end of the Cocteau story, of course, for as we have constantly witnessed, he is always oriented towards the future due to his undimmed faith in the creative act, and none more so than in the medium of film. Indeed, he was even more advanced in his preparations for death and the after-life of his work than originally thought. 　　Just a couple of months before his death, in August 1963, he made one last film: a 25-minute short entitled Jean Cocteau s’adresse à l’an 2000 (Cocteau addresses the year 2000). The film comprises one still and highly sober shot of Cocteau facing the camera head-on to address the youth of the future. Once recorded, this spoken message for the 21st century was wrapped up, sealed and posted on the understanding that it would be opened only in the year 2000 (as it turned out, it was discovered and exhumed a few years shy of that date). If in The Testament Cocteau portrays himself as a living anachronism, a lonesome classical modernist loitering in space-time in the same buckskin jacket and tie while lost in the spectral light of his memories, here he acknowledges explicitly the irony of his phantom-like state: by the time the viewer sees this image, he, J. C., our saviour Poet, will long be dead. 　　Temporality is typically skewed: speaking from both 1963 and 2000 Cocteau is at once nostalgic for the present that will have passed and prophetic about the future. There is thus both a documentary aspect and projective thrust to the film, another new configuration of ‘superior realism’ and fantasy enhanced by Cocteau’s seamless performance as himself and his now ‘immortal’ status as a member of the Académie Française. He reiterates some of his long-standing artistic themes and principles: death is a form of life; poetry is beyond time and a kind of superior mathematics; we are all a procession of others who inhabit us; errors are the true expression of an individual, and so on. The tone is at once speculative and uncompromising, as when Cocteau pours vitriolic scorn on the many awards bestowed upon him, which he calls ‘transcendent punishments’. He also revels in the fact that he can say now what he likes with absolute freedom and impunity since he will not be around to suffer the consequences. 　　The status of Jean Cocteau s’adresse à l’an 2000 remains ultimately unclear. Is it a new testament or confession, or a heroic demonstration of the need for human endurance, or a pure ‘farce of anti-gravitation’ as he puts it? Or everything at once? It is entirely characteristic of Cocteau to leave us hanging on this suspended paradox. What is certain, however, and what we have consistently seen, is that Cocteau’s life and body are his work, and his work in turn is always mysteriously alive. This is Cocteau’s final gift to his fellow human beings. Let us retain and celebrate the force of that gesture. He is resurrected before our eyes, ever-present, defiant and joyfully queer. 　　Jean Cocteau is dead, long live Cocteau! 　　(James S. Williams)

作品以细腻的笔法描写了复杂的现代家庭伦理关系。亲情、恋情、恩怨、爱恨，交织成一张纵横交错的网，使全剧冲突迭起、悬念横生。这部作品中的主要演员几乎都是不为大家所熟悉的新人。这部作品是作为千禧年的贺岁片在中央电视台8套黄金强档播出的。

这部被誉为欧洲版《西考克斯七人的回归》的瑞士电影，聚焦五位三十代男女直面六十年代"革命"浪潮的微弱回响。心怀乌托邦理想的文案编辑马克斯、沉迷密宗仪式的红发女子米里亚姆、私自为老人打折的超市收银员玛丽，在集体农庄的晨雾与暮色间寻觅崭新意义。而作为象征性存在的六岁孩童，则成为这群理想主义者投射未来期许的灵性载体。

这部被誉为欧洲版《西考克斯七人的回归》的瑞士电影，聚焦五位三十代男女直面六十年代"革命"浪潮的微弱回响。心怀乌托邦理想的文案编辑马克斯、沉迷密宗仪式的红发女子米里亚姆、私自为老人打折的超市收银员玛丽，在集体农庄的晨雾与暮色间寻觅崭新意义。而作为象征性存在的六岁孩童，则成为这群理想主义者投射未来期许的灵性载体。

Anticipation, ou l'Amour en l'an 2000 est un court métrage réalisé par Jean-Luc Godard en 1966 et est sorti en 1967. Il a été tourné en noir en blanc, à l'exception de la scène finale. Il est l'un des épisodes du film Le Plus Vieux Métier du monde qui traite de la prostitution à travers les âges et qui est composé de six épisodes en tout. Anticipation, ou l'Amour en l'an 2000 est le dernier épisode.