本剧讲述了医学院研究生林晨为了帮助因意外昏迷的十八线艺人姐姐林晚保住工作，选择以她的身份出现，机缘巧合下偶遇了学生时代暗恋的男生陆洵，并与之再续前缘的故事。

顾璟言和沈枝意刚结婚，就为了家族生意跑国外去开拓市场了，两人还从未见过一面，就连沈枝意还是从结婚照上知道自己的便宜老公的长相。可有一天，这个男人回来了，身边还跟着一个小孩叫他爸爸，她风中凌乱......直到后面真相揭开，原来一切早已命中注定。

本剧讲述了医学院研究生林晨为了帮助因意外昏迷的十八线艺人姐姐林晚保住工作而选择以她的身份出现，机缘巧合下偶遇了学生时代暗恋的男生陆洵，并与之再续前缘的故事。

沈枝意和醉酒的顾璟言亲上，正巧被顾奶奶瞧见。顾奶奶以为孙子终于有了心仪的姑娘，急忙向沈枝意提亲，还送上五百万彩礼。此时与沈枝意相依为命的沐晚晚身患重病，为了筹钱，沈枝意接受这门婚事。领证后，顾璟言直接出国，两年过去，沈枝意都快忘了自己已婚。两年后，沈枝意去酒店抓背叛沐晚晚的渣男，误闯进刚回国的顾璟言的房间。顾璟言没认出她，只当是千方百计接近他的女人，因此引出诸多误会。

故事改编自第26届手家治虫文化奖新生奖得主谷口菜津子创作的同名漫画，讲述了一个为了恋人精心烹饪、扮演"恋爱至上"角色的女孩逐渐迷失自我的女性山岸鲇美，与秉持"料理理所当然是女人做的!"这种令和时代罕见的大男子主义思想的丈夫海老原胜男--这对从大学时代开始交往、早已同居的情侣，看似顺利的关系却在求婚前夕突然分手。"烹饪"成为契机，让两人重新审视那些"理所当然"的事物并实现成长，是一部关于二人重获新生的爱情喜剧。

故事改编自第26届手家治虫文化奖新生奖得主谷口菜津子创作的同名漫画，讲述了一个为了恋人精心烹饪、扮演"恋爱至上"角色的女孩逐渐迷失自我的女性山岸鲇美，与秉持"料理理所当然是女人做的!"这种令和时代罕见的大男子主义思想的丈夫海老原胜男--这对从大学时代开始交往、早已同居的情侣，看似顺利的关系却在求婚前夕突然分手。"烹饪"成为契机，让两人重新审视那些"理所当然"的事物并实现成长，是一部关于二人重获新生的爱情喜剧。

Caetano Gotardo, whose contribution to the omnibus film Neverquiet (Film of Wonders) was screened in 2011 at IFFR, stays close to home in his second feature. He writes, directs, edits and also plays the leading role. The story is set in the Brazilian artists’ milieu. 　　Joao has extensive conversations with friends, strangers and himself. For instance with his best friend Irene, who cannot let go of memories of her ex; and the boy he meets in the metro, with whom he wants to have sex. Beside life and love, the creative process is a recurring theme in the conversations, in the best traditions of filmmakers like Éric Rohmer or Hong Sang-soo. Piece by piece, the encounters, conversations and monologues have a great influence on Joao, who literally wrestles with his attitude to life. A puzzle unfolds within which time, narrative, character and perspective are all jumbled up in an intriguing way.

Caetano Gotardo, whose contribution to the omnibus film Neverquiet (Film of Wonders) was screened in 2011 at IFFR, stays close to home in his second feature. He writes, directs, edits and also plays the leading role. The story is set in the Brazilian artists’ milieu. 　　Joao has extensive conversations with friends, strangers and himself. For instance with his best friend Irene, who cannot let go of memories of her ex; and the boy he meets in the metro, with whom he wants to have sex. Beside life and love, the creative process is a recurring theme in the conversations, in the best traditions of filmmakers like Éric Rohmer or Hong Sang-soo. Piece by piece, the encounters, conversations and monologues have a great influence on Joao, who literally wrestles with his attitude to life. A puzzle unfolds within which time, narrative, character and perspective are all jumbled up in an intriguing way.