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.

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.

未来几十年内，人类探索利用太空的程度不断加深。2040年，利用空间扭曲技术深入宇宙的“新领域号”消失于海王星附近。 　　2047年，新领域号突然在海王星发回讯号，内容似乎为求救，于是当年设计新领域号的威尔博士（Sam Neill 饰）受命乘坐营救船“路易与克拉克”号前去施救。船长米勒（Laurence Fishburnes 饰）不甚友好，所幸路易与克拉克号很快按计划与新领域号对接。虽然生命扫描显示新领域号充满生命迹象，但搜寻之后营救队发现所有船员均死亡或消失，新领域号内制造黑洞的核心动力部分产生的震荡破坏了路易与克拉克号的外壳，营救队被迫暂时停留。 　　新领域号残留的影像记录将当时血腥的一幕呈现给所有人，同时营救队员们被幻象所困——他们分别看到了自己心中无法释怀的伤痛。队员们陷入了崩溃的边缘。然而更令人惊异的是，新领域号似乎具有了生命。威尔博士相信新领域号的变化是由于它进入过地狱，米勒船长为了拯救队员们和威尔展开了生死对决……

未来几十年内，人类探索利用太空的程度不断加深。2040年，利用空间扭曲技术深入宇宙的“新领域号”消失于海王星附近。 2047年，新领域号突然在海王星发回讯号，内容似乎为求救，于是当年设计新领域号的威尔博士（山姆·尼尔 饰）受命乘坐营救船“路易与克拉克”号前去施救。船长米勒（劳伦斯·菲什伯恩 饰）不甚友好，所幸路易与克拉克号很快按计划与新领域号对接。虽然生命扫描显示新领域号充满生命迹象...

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

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。