从小喜欢水草的远山智史开了一家名叫“Trash”的水草店，为了孩时的一句诺言。一日，一位著名的退休模特森宇川铃音来到水草店，并要求做了雇员，这个“奇怪”的雇员总让纯真木讷的智史回想起孩童的时的记忆，后来发现原来铃音就是从不曾忘记的童年玩草伴泷川花梨，智史很兴奋，终于再次见到从小就暗恋的花梨，但花梨仿佛有什么事在瞒着智史。智史和花梨很想找到当年的另一个小伙伴梦想当画家的五十岚佑司，重叙美好的友谊。　　花梨和佑司是从小被遗弃的孤儿，智史家庭很幸福，偶然的机会让他们成为了好朋友，智史和佑司都喜欢性格像个男孩子的花梨，他们一起玩耍，一起谈论梦想，一起过生日，让花梨感受到了家的幸福，但智史和佑司并不知道花梨患有“绝症”。美好的日子总是短暂，因智史搬家要离开本地，大家都很伤心，花梨什么都没说只是吻了智史把他推上了列车，至此了无音讯。　　时光荏苒，转眼间过了十三年，花梨的病越来越严重，她必须再看一眼她深爱的智史，是他让自己有活下去的勇气和力量，一本杂志让她找到了智史的水草店。陌生人的电话让他们找到了曾经的伙伴佑司，这时佑司发生意外昏迷不醒，花梨以要照顾佑司为理由再次把智史推上了列车，其实是不想让他见到自己的病发。回来后，早就知晓原由的父亲告诉智史花梨可能永远的睡去再也不会醒来，疯狂的智史找到了花梨，告诉她一直想要说的句话“花梨，我爱你！”此时花梨病发……佑司醒来了，但看到的却是沉沉睡去的花梨，他和智史望着花梨留下来的信，陷入无尽的悲伤。智史决定要等着她醒来，无论等多久。一年，又一年就这样过去了五年，智史的父亲逝世了，佑司结婚有了宝宝，终于办成了自己的画展，一直喜欢智史的美吹出国读书了…… 一切都这样平静的流淌过。　　童话般的故事就该有童话般的结局，在一个漫天雪花飞舞的夜晚，水草店门前智史等到了他的花梨，“欢迎你回来，花梨~”“我回来了~”等待，只为与你相遇……

智史（山田孝之饰）是Trash水生植物店的店长，生意清淡，几乎难以为继。某日，一个女孩子找上门来，不由分说便要求做店员，还就地住了下来。智史后来才知道女孩竟是超级模特森川铃音（長澤まさみ饰），迟钝的智史对铃音的出现和行为目的完全是一头雾水。 　　“女孩子的行为都是有特定的含义的”，在铃音的反复暗示下，智史终于想起13年前的故事，他、花梨、佑司是形影不离的好伙伴，后来却失去了联系。时光荏苒，看到长大了的花梨成为铃音与自己重逢，智史又惊又喜。有一天，佑司（塚本高史饰）的消息也传来，他受伤住在医院里，智史和花梨一起去看望佑司后，花梨却对智史说自己要留下陪伴佑司不走了。 　　独自返回的智史心情低落，郁郁寡欢，这时父亲（小日向文世饰）前来看望，告诉了他一个惊人的秘密……

孤傲的明珠现代舞团首席演员于曼曼， 在受到同僚排挤被迫离开热爱的舞台后，阴差阳错地成为了横琴街坊会的一名少儿舞蹈教师。在和阳光开朗的来自澳门的社工顾现以及调皮可爱的孩子们的相处中，她的冰冷被一点点融化，孤独的心开始变得温暖。然而，当她面对舞台的又一次召唤时，她迷失了自我，也伤害了爱她的人。最终，在她向往的舞台上，她找回了学习舞蹈的初心，也明白了爱和陪伴的意义。

孤傲的明珠现代舞团首席演员于曼曼， 在受到同僚排挤被迫离开热爱的舞台后，阴差阳错地成为了横琴街坊会的一名少儿舞蹈教师。在和阳光开朗的来自澳门的社工顾现以及调皮可爱的孩子们的相处中，她的冰冷被一点点融化，孤独的心开始变得温暖。然而，当她面对舞台的又一次召唤时，她迷失了自我，也伤害了爱她的人。最终，在她向往的舞台上，她找回了学习舞蹈的初心，也明白了爱和陪伴的意义。

孟宁与姜尧虽然是最好的闺蜜，但两人的性格天差地别；姜尧是学校内的风云人物，老师最头疼的存在，而孟宁是功课名列前茅但性格孤僻的书呆子，对她来说，人生最重要的意义与目的就是要好好用功念书，然后进入梦寐以求的大学，才有光明未来。一次偶然的机会，姜尧遭遇车祸变成植物人，灵魂出窍出现在孟宁身边。二人尝试各种方法试图让姜尧重回到自己的身体，可是无济于事。但通过尝试，得出姜尧的灵魂状态只有孟宁能看见，奇幻的经历将两人牢牢的连在一起。

新垣结衣在上海拍摄的心情短剧。新垣结衣一人分饰两角，讲说她独自到上海旅行，偶遇与自己长相一模一样的女生

The fear of being overwhelmed by the outside world can almost litterally make you lose your head...

A diary film about a relationship between a man (Alain Cavalier) and a woman, told entirely through voice-overs by the two participants, spoken over largely static images (of household objects, animals, parts of the body, rooms, landscapes etc.). At times an emotional direction emerges (an articulation of love, loss, frustration), then it retreats. At times the film seems to be about its own making; at others it seems merely to drift. 　　Imdb Review: Alain Cavalier's latest film is deceptively simple and yet revolutionary because it seems to stand outside the boundaries of narrative and documentary filmmaking. One could describe "La Rencontre" as a cinematic diary--a home movie that documents the filmmaker and his muse during the course of their relationship. But unlike most movies the human subjects here are never photographed in whole, just partially. This brave new work is as much about Cavalier's object of desire, that is, his lover as it is about the medium that gives expression to his love. It is conceived as one part confessional and one part discourse on the metaphysics of love and cinema. The cinema, for Cavalier, is like a two-way mirror that records images while reflecting those images back onto itself. Subject and object appear to mirror each other's identity until they assume new personae in the process. 　　The immediate challenge for Cavalier, then, is cinema's objective gaze: the ability of the camera to record the physical nature of reality. But Cavalier's chief interest is just the opposite. He wants to demonstrate the possibility of a new cinema: one that evolves out of concealment and subterfuge. This cinema deemphasizes the human landscape and dislocates the image from its voice. It focuses inward rather than outward, and chooses to explore the intangible and the abstract over the tactile and the concrete. 　　Appropriately, Cavalier's cine-diary unfolds like an open book: his twin loves (muse and cinema) are illuminated through a series of tableaux filled with close-up objects which are brought vividly to life by the imagination and the transfigurative power of the cinema. It is as if these everyday objects have become the lovers' collective memories saturated with the emotions and energy of life. In short these objects have assumed a life of their own becoming humanized and perhaps immortalized in the process. After all isn't this precisely the paradox of cinema--the ability to resurrect inanimate objects, to bring them back to life at 24 frames per second?

毗邻大海的城市内，不远的街区里，住着两个命运截然相反的男女。男人似乎从小厄运随身，走到哪里都灾祸不断，大好晴天因为他的出现也能变得电闪雷鸣。与之相对，另一头的女孩仿佛受到命运之神的特殊照顾，可以想见她出生以来便一路风顺，但是过多的好运让女孩多少感到无聊。有时候她会想自找麻烦，怎奈命运根本不给她这个机会。这天早晨，两人意外撞到一起，女孩将手伸向对方，而男人不相信好运会降临，他摇摇头擦身而过。然而接下来的一连串意外，将厄运和幸运硬生生地捏在了一起。 　　喧闹的都市街头，男孩和女孩只能携手迎接命运开给他们的大玩笑……