本作讲述被家人同事折腾得心力交瘁的离婚女性，某日突然与美国背包客展开合租的温馨喜剧。49岁的东京居民美久子与语言不通的文森特同居时订立四条规则，在文化碰撞中摸索新生。

33岁的单身女性近藤麻美（安藤樱 饰），在老家的市役所工作的她过着平凡的生活。而有一天，近藤发现她突然出现在了妇产科的病床上，眼前出现了还年轻的父母。

“如果当时没有那样做，就一定不会走到如今这步田地！” 　　每个人都难免曾在人生的某一时刻产生过这样的念头吧，可是世上难买后悔药，人们所做的只能是抛弃过去，直面未来。而人生重启者——安利（田中直樹饰）的出现却使得“如果”不再只是“如果”：被姐姐抢走男朋友的受害者，被上司性骚扰加陷害的受害者，被变态杀人犯杀害了女友的受害者……本剧的14位主人公在人生的关键一刻都幸运地遇到了安利，得到了选择“Reset（人生重启）”的机会。 　　人生果真重新开始，主人公们也小心翼翼地企图避免错误或阻止悲剧的发生，可情节的走向似乎总不尽如人意，于是，这些主人公开始在人生二度重启中徘徊……

33岁的单身女性近藤麻美（安藤樱 饰），在老家的市役所工作的她过着平凡的生活。而有一天，近藤发现她突然出现在了妇产科的病床上，眼前出现了还年轻的父母。

马塞尔·莱希·拉尼奇（Marcel Reich-Ranicki）： 1920年生于波兰一个犹太人家庭，1929年随父母移居柏林。1938年全家被纳粹驱逐回波兰，1943年从华沙难民营死里逃生。二战后曾加入波兰共产党，以记者为职业。1958年移居德国，开始在《法兰克福汇报》等报纸上发表文学评论。1973年，拉尼奇任《法兰克福汇报》文学栏目主编。1988年开始，拉尼奇开始主持电视节目《文学四重奏》，成为一个媒体明星。 也许由于坎坷的经历，拉尼奇的文学评论笔下无情。当代德语作家中，大概只有西格弗雷德·伦茨没有被他骂过。君特·格拉斯曾因拉尼奇的“恶评”，断绝与《法兰克福汇报》等主流媒体的交往。由于拉尼奇在德国文学界四面树敌，却又一言九鼎，能左右文学作品在出版界的命运，他被称之为“文学教皇”。

陈希是一位贤惠的家庭主妇，在遭受丈夫崔耀阳的背叛后，决定离婚并以201万的价格将崔耀阳“卖给”金淑芬。离婚后，陈希改变了自己的形象，开设了自己的餐厅，赢得了顾客的喜爱，实现了经济独立。顾氏集团顾震霆被陈希吸引，隐瞒自己的身份去陈希的餐厅做帮厨，并一直在背后支持陈希。 崔耀阳及其家人多次羞辱陈希，陈希勇敢反击，保护了自己的尊严和事业。在这个过程中，她与顾震霆的关系逐渐升温，顾母也对她产生了好感。 最后，有了家族的支持，陈希与顾震霆共同迎接美好的新生活。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

狐妖白逍借用灵珠闭关修炼，只差几天便可功德圆满，却被冒失少女夏葵一跤跌在他身上。白逍不仅修炼被打断，还被当萨摩耶送到宠物医院。宝贵灵珠，亦被夏葵拿走，打算摆到她的淘宝小店上当假古董卖。白逍追到小葵家，灵珠竟以小葵做了宿主，他欲杀夏葵而夺珠，却被夏葵做的红烧肉诱惑。而此时，白逍眼前的世界越来越让他惊奇，不仅红烧肉前所未见，还有电灯，微波炉，完全在其经验之外。原来白逍竟是一只唐朝的狐狸精，一觉醒来，人间已变成现代社会。这就是唐朝妖法遇到现代科技，纵使高冷范儿十足的白逍也露惊慌相。小葵看出他的疑惧和好奇，趁机骗得几日活命时间，以向单恋的学长表白。但令这对啼笑皆非冤家怎么也想不到的是，灵珠现世，竟悄然激活了冰冷都市丛林中无数匪夷所思的奇异妖灵，纷纷前来搅扰。为保灵珠不被抢走，白逍被迫当起小葵的贴身保镖。一个冷面唐朝狐少年，一个呆萌贪财少女，被迫生活在一起，经历这大都市中最诡异的阴谋以及最暖心的情感。

《Bravo My Life》讲述了电视台助理导演、准备七年还未能出道的演员，以及在电视台目中无人的绝对掌权者之间的故事。延政勋将在剧中饰演电视剧PD申东宇，郑柔美则将饰演一直未能升职的助理导演河度娜，显祐将在剧中饰演准备7年都未能出道的演员金范宇。

1997, 75 min., colour, BETACAM SP, Stereo 　　The Japan Foundation, North Foundation, Pandora Co., Ltd (Japan) 　　Special thanks to Hiroko Kodjima 　　scenario: A. Sokurov 　　camera: A. Fedorov 　　sound: S. Moshkov 　　editor: L. Semenova 　　“My journey to your sorrowful country cannot finish… even here in Russia. 　　I can't part with feelings which have captured me… as if my soul had been in search of Beauty and Kindness. If not — what for have I deserved this gift, this meeting… 　　I have arrived in the twilight. The noise of the wind and my tiredness didn't let me fall asleep. 　　I was lying on the floor, there was a small lamp at my head, the bedding had been thrown over the mat. 　　I don't know why, but I began to think about the war, and the scenes of unknown life appeared before me from the past… or, perhaps, from the future; Somebody’s children… somebody's mothers… 　　The summer was warm… 　　Then the morning came, windy, cold and sunny… I examined the house cautiously. It was empty… 　　Then, I remember, I turned back, having heard a creak. 　　It seemed she had not yet noticed me… I decided to come nearer. 　　I can remember well enough, how everything became interesting: walls, utensils, wind, light, sounds — all her life. 　　We agreed that she would let me stay near her all the time All the hours and minutes that I could spend in her old house. I sat near her with her permission. And it was really necessary: I could contem­plate her to my heart's content.” 　　Alexander Sokurov (from the author's text to the film) 　　A myth about lost harmony, which is always with us, though we often cannot feel it, is further developed in this film by Alexander Sokurov. The material used here is concrete and, at first sight, quite fit for TV. The whole work is unhurried and detailed report from an old solitary house, lost in the mountains, in the village of Aska, prefecture Nara, Japan, where an old woman, whose name is Umeno Matshueshi, lives alone. But filmmaker's creative task is quite opposed to the TV information stream. It is not only because this subject, this person couldn't be of any interest for any TV crew in any country (and least of all, perhaps, in modern Japan). 　　Sokurov's camera doesn't watch this character, doesn’t ask any questions, doesn’t surprise her, but extracts uninterrupted poetical image out of the trivial details of this physical reality, out of this extinct life and daily routine. The image is epic and lyrical at the same time. Refined simplicity of Japanese landscape, interior, a series of portraits are not a representation of “couleur local,” but only the sign of ideal technique of the ideal description, allowing to enter this life. The woman, who remains silent throughout the whole film, cooking and eating, kindling the fire and sewing, giving alms and combing her hair before us, recites in the final poem as a prayer: artless and sorrowful tanku about loneliness, about the constancy of losses and gainings. Sokurov shoots this unexpected stroke in his personage's portrait as a lyrical coda of his work.