上一世，她在极寒末世中凭借超级体力艰难求生，却遭到了选择“绝世美貌”的表妹背叛并惨死。意外重生，她回到了与表妹一同选择异能的瞬间。这一次，同样重生的表妹因前世的经历，毫不犹豫地抢走了她曾拥有的“超级体力”，以为夺走了生存王牌。然而，女主只是冷笑，因为只有她知道，在末世降临前的最后一个月，真正的神器是那张能换取无数资源的脸。这一次，她将利用“绝世美貌”，在秩序崩塌前，为自己囤积一个安全的未来。

2035 年 5 月 20 日上午 10 点，重生的我在宿舍惊醒，距丧尸爆发仅剩 5 小时。发小毛小俊竟也重生，两人一拍即合，决定远离城市避险。我在平台借得 10 万块，分工行动：他租房车，我赴超市囤满食物与各类物资，誓要摆脱上辈子被丧尸围困撕碎的命运，这一世靠房车物资安稳求生。

2035 年 5 月 20 日上午 10 点，重生的我在宿舍惊醒，距丧尸爆发仅剩 5 小时。发小毛小俊竟也重生，两人一拍即合，决定远离城市避险。我在平台借得 10 万块，分工行动：他租房车，我赴超市囤满食物与各类物资，誓要摆脱上辈子被丧尸围困撕碎的命运，这一世靠房车物资安稳求生。

2035 年 5 月 20 日上午 10 点，重生的我在宿舍惊醒，距丧尸爆发仅剩 5 小时。发小毛小俊竟也重生，两人一拍即合，决定远离城市避险。我在平台借得 10 万块，分工行动：他租房车，我赴超市囤满食物与各类物资，誓要摆脱上辈子被丧尸围困撕碎的命运，这一世靠房车物资安稳求生。

高温末世来临，上一世我因为喜欢囤货躲过一劫，但是前妻却知道我有喜欢囤货的习惯，于是带着情人上门霸占了我的房子，最后还将我害死。一朝重生，我回到了末世发生的前一周，我开始积极为末世降临做好准备，打造了一间末世安全屋。没想到前妻和情人居然也重生了，我摆脱前妻的监视顺利来到自己打造好的安全屋，在末世之下过上了舒服令人羡慕的日子，看着前妻和情人过着悲惨的生活。

我带着一亿彩票奖金重生，回到极热地狱降临前一个月。上一世我挥霍巨款买奢侈品，还被闺蜜吸血，最终活活渴死晒死。这一世，我果断拒绝闺蜜的无理要求，放弃市区别墅，花 250 万买下远离市区、带独立水井的养殖场，打算将其改造成安全屋。我斥巨资请建筑队加急改造，疯狂囤水、粮食、防暑药品和发电设备，还接来父母，听从父亲的建议优化囤货和改造方案，将化粪池改成沼气系统、挖掘地下避暑室。我要凭这笔巨款和先知，在 70 度的极热末世里，好好活下去，看着曾经伤害我的人自食恶果。

李浅重生回极寒末世前半年，手握父母遗产，先智斗贪婪大伯，凭律师学长陆宇助力夺回财产并将其送入牢狱。随后她斥巨资改造房屋为恒温堡垒，疯狂囤积煤炭、食物、药品等物资，备好逃生雪地车。极寒降临后，她抵御邻居抢劫、武装人员觊觎等多重危机，坚守堡垒一年。最终拒绝初期救援，携核心物资与陆宇汇合，前往地下城，凭借种植技能助力人类生存，直至气温回升，与幸存者一同重返地表重建家园

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

考编失败后，“我” 与母亲争吵，意外重生回丧尸爆发前七天。上一世，“我” 赌气离家，末世后为给父母送物资，与救过自己的陌生男人一同丧命。 重生后，“我” 用嫁妆钱租下安保极强的顶层房，带父母囤物资、改房屋、装设备、购武器。通过公众号提醒亲友和业主囤货，获王哥等支持。 丧尸爆发，小区凭安保成净土。“我” 分享鸡汤、引领好风气，凭丧尸嫌弃的能力救母，护送临盆的王哥妻子去医院，击退进化丧尸。在医院重逢上一世的恩人许舟 —— 抗体研究所负责人，邀其住家中研究。 除夕，许舟团队研发出防感染药，人类展开救援。最终丧尸被灭，世界重建，“我” 负责通讯，重建业主群延续情谊。