This movie consists of three chapters. In Part 1, Minju, who majors in fashion design, is preparing for her graduation exhibition. In Part 2, Seungju is an aspiring actress preparing for an audition. In Part 3, Hyejung and Dongmin head to their hometown, Uncheon, a rural village.

Alex is a paramedic who saves lives on London's gay chemsex scene, but can he save himself from it?

该剧改编自北倾小说《想把你和时间藏起来》。 　　五年前，充满生命力的沈千盏意外闯入了钟表修复师季清和的生命中。季清和因此对她一见钟情，念念不忘。五年后，外表光鲜亮丽、实则生活窘迫的女制片人沈千盏因为一部《时间》小说版权与季清和再次命运重逢。为了苦心经营的事业，沈千盏不得已寻求与季清和的合作，而嘴上说着拒绝、内心却渴望 再续前缘的季清和则步步为营，精准拿捏甲方身份，套路布局，一步步勾着沈千盏掉进自己的狐狸洞。两人在彼此靠近的过程中，成年人的面具被层层揭开，一场关于时间和治愈的爱情故事缓缓开启……

该剧改编自北倾小说《想把你和时间藏起来》。 　　五年前，充满生命力的沈千盏意外闯入了钟表修复师季清和的生命中。季清和因此对她一见钟情，念念不忘。五年后，外表光鲜亮丽、实则生活窘迫的女制片人沈千盏因为一部《时间》小说版权与季清和再次命运重逢。为了苦心经营的事业，沈千盏不得已寻求与季清和的合作，而嘴上说着拒绝、内心却渴望 再续前缘的季清和则步步为营，精准拿捏甲方身份，套路布局，一步步勾着沈千盏掉进自己的狐狸洞。两人在彼此靠近的过程中，成年人的面具被层层揭开，一场关于时间和治愈的爱情故事缓缓开启……

The Belgian filmmaker spent a period of time, unspecified, a week or two, in an apartment in Tel Aviv that was lent to her. She lived there alone, in virtually complete isolation, indirectly filming and narrating the experience, sustained only by "provisions" found in the kitchen, especially rice and carrots, having had stomach trouble from an Israeli salad; didn't go to cafes or supermarkets, and rarely even went out, except for a couple of forays to the sea; the apartment was a block or so from the beach. 　　La-bàs is a series of long stationary shots out the windows, often showing figures of old people on balconies on the roof or buildings opposite. A woman, immobile, is tended to by her husband. One man sits for long periods motionless. Ackerman in voice-over says she thinks he's watching his plants grow. "But I don't think plants grow any faster in Israel," she says. 　　Is this any better than the proverbial watching paint dry? Two aspects, visual and auditory, save this thin, dry, austere documentary from being a sterile art piece and make it both thought-provoking and haunting, for those who have the patience to sit through it; many will not. 　　To begin with, screens filter the light of the windows in a beautiful way: the shots are often handsome, not unworthy of something by Hou Hsiau-hsien or Tsai Ming-liang, if without their human figures moving about. 　　Further, Ackerman's voice overs, spoken off-camera during the shots, though skimpy, provide fleetingly penetrating, brutally frank self-revelations and contexts that range from the personal to the universal. Her father was once going to emigrate to Israal just after WWII and was waiting in Marseille to go, but he was warned that the Palestine environment was too harsh. The family settled in Belgium instead. She speaks of an aunt who committed suicide. Is she herself depressed? She speaks of passivity and laziness. She may be agoraphobic. She clearly is going through an agoraphobic period. She may also be afraid of bombs. A parent calls and expresses concern about her going out to dangerous places; she promises she won't. She speaks of prisons, external and self-imposed: this is one of the latter kind. 　　People call and invite her out. She says she can't because she's working. This devotion to the enterprise makes something positive and substantial, even noble, about this otherwise evanescent, uncertain project. This is an act of painfully heightened self-consciousness, a self-examination, a journal both Zen-like and intensive. She also speaks of reading; making extensive notes; having "complex" thoughts. A certain ambivalence toward her Jewishness is also involved. Finally, with minimal means, Ackerman has forged something unique. 　　A telling image: a Chasidic family leaving the beach. The man, in his quaint outfit, symbolizes the oddity of the Israeli enterprise. Ackerman doesn't comment on the oppression of Palestinians or Israeli dependence on the US. Her seclusion in the middle of Israel's largest city may be comment enough. This is something she apparently can't be a part of. But in her alienation, she couldn't be more Jewish.

一个平静的夜晚，楼下传来的声⾳引发了不同的反应和相似的冷漠。

父亲离世后，来到天桥摆摊卖手表的小康（李康生）同母亲一样，虽自觉与其并无多少情感，却无法摆脱其在精神上的无处不在。因为一块可以显示出巴黎与台北时差的手表，小康结识要去巴黎的湘琪（陈湘琪 饰），自此，精神抑压的他以为同巴黎（湘琪 饰）取得了某种形式的关联，获得某种虚空的安慰。 　　当小康通过把时钟调慢7小时、观看电影《四百击》等形式来表达他对湘琪暧昧的思念时，远在巴黎的湘琪也并没能从生活中找到多少积极的意义。无论同性（叶童）还是异性，她均无法从他们身上得到想要的温暖。

父亲离世后，来到天桥摆摊卖手表的小康（李康生）同母亲一样，虽自觉与其并无多少情感，却无法摆脱其在精神上的无处不在。因为一块可以显示出巴黎与台北时差的手表，小康结识要去巴黎的湘琪（陈湘琪 饰），自此，精神抑压的他以为同巴黎（湘琪 饰）取得了某种形式的关联，获得某种虚空的安慰。 　　当小康通过把时钟调慢7小时、观看电影《四百击》等形式来表达他对湘琪暧昧的思念时，远在巴黎的湘琪也并没能从生活中找到多少积极的意义。无论同性（叶童）还是异性，她均无法从他们身上得到想要的温暖。

上海，巴黎，大兴安岭， 　　不同的地点，不同的故事，却存在着某种联系。 　　上海 　　來自森林的国光在老陸的飯館里當服务員，巧遇女孩小夏，正當两人關係日益密切，小夏却意外死于車禍。国光陷入孤獨，為了完成小夏的遺愿，他帶着骨灰登上了东方明珠塔。 　　巴黎 　　老陸的儿子陸浩在巴黎留学，晚上被盜，為了生存他只能打工，每天給脾气古怪的房东老劉送外賣，与他逐漸結成往年之交，陪伴老劉渡過了最后的時光。 　　大兴安岭 　　傳统的生活方式正受到現代社会的衝擊。作為一個養鹿人人，国光的大哥的生活經歷着這巨变。他讓妻子和孩子離開大山，在城市里面生活，而他選擇留在大山里，繼續着祖先的游牧生活。

Marta returns to her mom's house to spend some days with her little sister in Madrid. The girl's strange behavior and the latent memory of a sad event will lead Marta to suspect that the house hosts an unsettling presence.