A musician killed in a car accident returns as ghost to try and hook up with his girlfriend again by possessing the porn producer responsible for the accident. He also beds his girlfriend's sexy roommate and visits a women's locker room.

A musician killed in a car accident returns as ghost to try and hook up with his girlfriend again by possessing the porn producer responsible for the accident. He also beds his girlfriend's sexy roommate and visits a women's locker room.

在“非自然死亡原因研究所”（简称“UDI”）工作的三澄美琴 （ 石原里美 饰）是专门探查死者死因的解剖医生。她最不能容忍的是对“非自然死亡”不闻不问。在她看来，“非自然”的背后必定有着需要法医来追究的真相，比如伪装杀人、医疗失误、未知的疑难疾病等等。然而，在日本，很多非自然死亡的死者都未经解剖就火化了。美琴与她那些个性鲜明的同事们一起，向这样的现实发起了挑战 。

本剧是一部以「查明不自然死亡的研究所」为舞台所描绘的原创医疗推理作品，石原饰演的是在研究所工作的33岁的法医解剖医三澄，不是一个特别的医生，而是工作和恋爱都很普通的一个女性，她的工作就是查明不自然死亡的原因还原真相。

内布拉斯加州崖燕的翅膀越来越短，切萨皮克湾的海龟却越来越大。在加拉帕戈斯群岛上，不同的物种正在退化成最开始的模样。为什么会出现这些现象？答案很简单：因为我们。人类已经把这个星球变得面目全非——我们把草原和森林变成了田野和城市，污染了空气和水。这些变化会以非自然选择的方式改变进化的进程。

“Essay, a term from written literature: unity of science and art; unity of social and individual knowledge,” Harun Farocki wrote in a first draft of the project Erzählen. The film follows two people (played by Engström and Farocki) investigating their respective subjects: one is tracing the involvement of the German heavy industry in the rise of Nazi-Germany, the other is interested in the fate of Larissa Reissner, a young Soviet writer and revolutionary. Both of them struggle with the question of how to organize their research and find a narrative structure. Their paths cross, and the film turns into an essayistic interrogation of structuralist narratology.

“Essay, a term from written literature: unity of science and art; unity of social and individual knowledge,” Harun Farocki wrote in a first draft of the project Erzählen. The film follows two people (played by Engström and Farocki) investigating their respective subjects: one is tracing the involvement of the German heavy industry in the rise of Nazi-Germany, the other is interested in the fate of Larissa Reissner, a young Soviet writer and revolutionary. Both of them struggle with the question of how to organize their research and find a narrative structure. Their paths cross, and the film turns into an essayistic interrogation of structuralist narratology.

A montage of still and moving images, mixing and alternating black people and white people, fantasy and reality, a presidential suite and a mother’s kitchen: a sensitive, poetic evocation in the manner of the film-maker’s Remembrance. Brilliantly colored and nostalgic, it comprises a magical transformation of painterly collage and still photographic sensibility into filmic time and space.