This film is in the form of a personal diary. Using the everyday images captured on film, new images are created through various surface treatments and combinations. This is part of the act of the maker to converse with his memories and to restructure them. This work is the result of conversation between author (various surface treatments and combinations) and fixed images on film as the memories.

作为电视朝日（NET）《悬疑最佳21》的最终话进行了放送。

妻子妍淑被诊断为痴呆症后,随着病情逐渐恶化,记忆不断消失,时间倒流。守护在她身边的人只有丈夫奎洪,即使把一切都忘记,妻子唯一记得的人只有丈夫。可有一天丈夫也被绝症宣判死刑 妻子逐渐失去记忆，丈夫逐渐失去精神……

弗兰克住了10年的省级足球俱乐部的场边。无状态或薪水，他知道球员和阴燃远监视器。一天晚上，他遇到了莎乐美，谁设置了他的目光贾布里勒一个球员的前情妇，未来足球的昔日辉煌的俱乐部结束职业生涯。

弗兰克已经在一家省级足球俱乐部附近生活了10年。他没有正式身份，也没有薪水，但他对球员们了如指掌，既悉心培养他们，也密切关注着他们。一天晚上，他遇到了萨洛梅，她是一名球员的前女友，如今她把目光投向了吉布里尔，这位昔日的足球巨星来到这家俱乐部结束自己的职业生涯。

REMEMBRANCE OF THINGS TO COME, the latest "cine-essay" of Chris Marker, is dense and demanding, a splendid reminder that his nimble, capacious mind has lost none of its agility, poetry, and power. Ostensibly a portrait of photographer Denise Bellon, focusing on the two decades between 1935 and 1955, the film leaps and backtracks, Marker-style, from subject to subject, from a family portrait of Bellon and her two daughters, Loleh and Yannick (the latter co-authored the film), to a wide-ranging history of surrealism, of the city of Paris, of French cinema and the birth of the cin (C)mathque, of Europe, the National Front, the Second World War and Spanish Civil War, and postwar politics and culture.Full of Marker jokes (a great one about artists and cats), word play (Citroen/citron), filmic homages (Musidora makes a memorable appearance), peculiar art history, a consideration of the 1952 Olympics, and astounding segues from French colonialism in Africa to women in the Maghreb, to a Jewish wedding and gypsy culture in Europe, to Mein Kampf and the Nazi death camps (Birkenau, Auschwitz), the film opens with Dali and ends with Mompou, traversing in its short time a world of thought, feeling, and history.A small masterpiece of montage, REMEMBRANCE OF THINGS TO COME is from moment to moment reminiscent of Resnais, Ivens, even Kubrick, but in its deployment of still photographs (as in La Jet (C)e), its theme of history and memory, its subject-skipping montage and rapid shuttle of wit and philosophy, REMEMBRANCE is pure, marvelous Marker. -- © First Run/Icarus Films

三浦因为接受不了生意失败的打击远走他乡，多年以后，他重新回到了阔别已久的家，却发现早已物是人非。大女儿津岛夏波是一个十分强势的人。二女儿津岛冬花是个没主见的人，至于三浦的前妻津岛纯子，遇到了她生命里的另一个男人——绪方，夏波对母亲的感情生活很是担忧，她生怕母亲像当年一样被骗。而三浦恰巧出现，二人联手开始对绪方展开调查。在调查的讨程中，三浦发现绪方是个非常信得过的男人，他决定主动摄合他俩的感情，与此同时，在三浦的鼓励下，夏波开始考虑男同事对自己的感情，而小女儿多花也找到了自信，去乡下做自己真正想做的事情。 当他身边最亲近之人的生活都得到圆满的时候，三浦独自一人回忆着往日与家人相处的点点滴滴。

陆周，一个卑微的赘婿，在前世的极寒末世中，亲眼目睹妻子苏晴被冻成冰雕，岳父手指脆断。而将他推进暴风雪的，竟是平日里他极力讨好的岳母王秀芬和大侄子陈远，只因一句“你一个赘婿，凭什么跟我们抢活路！” 带着刻骨的恨意与不甘，陆周在临死之际却奇迹般重生，回到了岳母王秀芬50大寿的宴席上。水晶吊灯下，虚伪的繁华与前世的冰冷记忆形成鲜明对比。岳母王秀芬依旧尖酸刻薄，将陆周贬得一文不值，面对这一切，陆周终于爆发！然而，尽管恨意滔天，他却深知极寒末世即将降临，他不能重蹈覆辙，更不能眼睁睁看着亲人再次死去。一场关于生存、复仇与救赎的末世重启之旅，就此展开。