“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

“I would like to propose a film that contributes to the concept of work. That compares the work of a traditional society, like in Africa, in an early industrial society such as India, and in a highly developed industrial society, in Europe or Japan. The object of comparison is to be the work in building houses. Houses to live in.” 　　This was written in Harun Farocki’s exposé from 2003 for a documentary project. “After initial research (...) I had the idea of using the brick, its manufacture and its processing as the object of comparison, explains Farocki. “We were looking for a great variety of uses for bricks – and we were looking for manufacturing processes that would possibly do away with bricks.” In India he filmed a brickworks whose threading machine was from the 1930s when Gandhi was organizing the anti-colonialist protest. The installation in northern France was operated by Moroccans who housed in barracks like POWs or forced labourers. In Mumbai apartment houses were built much like they are in Europe. No hand touched the products that came out of the highly mechanized factories in Germany. In Burkina Faso Farocki followed the communal work on a hospital ward and a school building with his camera: “I’ve never in my life been able to observed such a strange process so closely.” 　　The film does without commentary; there are only indications of the places and a few explanations offered in subtitles.

五年前，赵灵儿和顾子辰阴差阳错下有了一对双胞胎。可惜分娩时有人从中作梗将孩子带给了顾子辰，并放出假消息使得赵灵儿误以为孩子死亡。五年后的一天赵灵儿和顾子辰再次相遇，且在两个小家伙的合力合下成婚。婚后的两人渐渐互生好感，甜蜜的同时也逐渐发现很多熟悉的巧合，两人的身份以及孩子的血缘逐渐显露。

有栖川仁乃（中条彩未 饰）和榊桃（小关裕太 饰）是青梅竹马的玩伴，两人之间感情十分要好。榊桃家中欠下了巨额债务，为了躲避债主，榊桃一家决定连夜逃走，仁乃十分舍不得榊桃的离去，两人许下约定，有朝一日，榊桃一定会循着仁乃的歌声再度找到她。 　　榊桃的离去让仁乃陷入了悲伤之中，就在这个节骨眼上，一位名为柚（志尊淳 饰）的少年出现在了仁乃的身边，柚耐心的安慰和鼓励着仁乃，使得仁乃渐渐重拾了继续生活的力量。然而，某一日，柚也和榊桃一样突然就失去了音讯，但这一次，仁乃没有绝望，她吟唱着歌谣，等待着和故人重逢的那一天。

最爱唱歌的有栖川仁乃和榊桃是感情要好的玩伴，不过有一天桃家因为负债而举家夜逃，临行前桃留下希望将来能凭歌声认出仁乃这句话。为此伤心哭泣的仁乃遇…

2020年。 　　人类从平流层下降 　　被怪异的生命体·怪异所威胁。 　　为了讨伐怪异而组织起来的是怪伐军。 　　那个将脑内的视觉系统具体化 　　拥有“超脑力”的人的集团。 　　完成入伍的Yite和kazane 　　被卷入无法抗拒的命运和世界的真相

我的指尖钻的发紧，胸腔里的燥热像团没疏散的雾，闷的人太阳穴突突跳。我往前挪了小半步，指腹刚要触到何娇娇垂在身侧的衣角，耳边突然传来哐当一声巨响，那扇防盗门被踹得脱了轨，门板撞在墙上又重重回弹。我浑身一僵，腿弯莫名发软，慌忙收住脚步。我耳尖烧得发红，连呼吸都跟着吃了半拍。门口站着的身影熟悉又陌生，是三天前红着眼圈跟我说要去追演员梦的叶闪闪。

2020年。 　　人类从平流层下降 　　被怪异的生命体·怪异所威胁。 　　为了讨伐怪异而组织起来的是怪伐军。 　　那个将脑内的视觉系统具体化 　　拥有“超脑力”的人的集团。 　　完成入伍的Yite和kazane 　　被卷入无法抗拒的命运和世界的真相

喜爱唱歌的少女仁乃，与青梅竹马及初恋对象桃，以及擅长作曲的少年柚子，分别在幼年时就经历了离别。“总有一天，会以歌声为记号找到仁乃……”胸…