本剧根据同名漫画改编。明里（山崎纮菜 饰）因意外之事，开始在名为“帕拉迪索”的女性风俗店（通称“女风”）担任内勤工作。起初，明里对风俗行业十分抵触，但在接触到光顾女风的女性们的各类烦恼后，她与个性丰富的心理治疗师们一同努力，致力于满足更多女性的需求。

本剧改编自同名漫画。因为意想不到的事情，明里（山崎纮菜 饰）开始在名为“帕拉迪索”的女性风俗店，通称“女风”做内勤工作。一开始对风俗行业有抵触情绪的明里，接触到利用女风的女性们的各种烦恼，和个性丰富的心理治疗师们一起，为了满足更多女性的需求而奋斗。

42 workers take their lunch break in a corridor that stretches the entire length of a shipyard. What was a brief interval in their work day expands into a sustained gaze. 　　源自：https://www.cinemadureel.org/en/films/lunch-break-2/

42 workers take their lunch break in a corridor that stretches the entire length of a shipyard. What was a brief interval in their work day expands into a sustained gaze. 　　源自：https://www.cinemadureel.org/en/films/lunch-break-2/

妈妈平时很操劳，一群可爱的小朋友想在三八节来临这天帮妈妈做些事，让妈妈好好休息休息。虽然心意是好的，可是这些平时娇生惯养的小公主小皇帝们什么都不会做，结果越帮越乱。动画片想要告诉小朋友们，平时就应该帮助妈妈做一些力所能及的家事，在日常生活中培养自立能力，以及勤劳的品质。

旭日初升，新的一天又开始了。空空荡荡的大房子里，闹钟铃声大作，狸猫先生倏地从床上蹦起。它叠好被子，放在旁边的凳子上，然后冲到壁橱旁去关闹钟。谁知闹钟太高了，它根本够不到，只得又把凳子搬过来，却又摆错了位置。如是再三，手忙脚乱，做完这件忘了那件，总算把闹钟关上了。眼看时间耽误不少，狸猫先生连忙继续做接下来的事情，不过恐怕它的记性太差了，所有的事情越做越乱，精神几近崩溃。借助外力的帮助，狸猫先生总算搞定一切，开始了海边的快乐旅行。 　　上苍保佑统筹性超差的狸猫先生旅行愉快……

旭日初升，新的一天又开始了。空空荡荡的大房子里，闹钟铃声大作，狸猫先生倏地从床上蹦起。它叠好被子，放在旁边的凳子上，然后冲到壁橱旁去关闹钟。谁知闹钟太高了，它根本够不到，只得又把凳子搬过来，却又摆错了位置。如是再三，手忙脚乱，做完这件忘了那件，总算把闹钟关上了。眼看时间耽误不少，狸猫先生连忙继续做接下来的事情，不过恐怕它的记性太差了，所有的事情越做越乱，精神几近崩溃。借助外力的帮助，狸猫先生总算搞定一切，开始了海边的快乐旅行。 　　上苍保佑统筹性超差的狸猫先生旅行愉快……

The second movie of Kiarostami, made in 1972. It calls in my mind some of the very first movies of Brakhage, especially The Way to Shadow Garden. In both cases, a minimalistic gem, nothing explained, a personage without history, without motivation, with the unique role of putting in value a disconcerting universe. 　　Is it the admirable end of Breaktime a negative stasis (like in the movie of Brakhage)? Well, it is somehow a way to the Gardens of Shadow, too, though I think it is, much more, something else: it is an end refusing to be the end (as the movie actually has no beginning, also). This fourteen minutes movie dares to eliminate the story from its structure! It is a shame that Breaktime passed unobserved, because it was marking a new age in the history of cinema.

The second movie of Kiarostami, made in 1972. It calls in my mind some of the very first movies of Brakhage, especially The Way to Shadow Garden. In both cases, a minimalistic gem, nothing explained, a personage without history, without motivation, with the unique role of putting in value a disconcerting universe. 　　Is it the admirable end of Breaktime a negative stasis (like in the movie of Brakhage)? Well, it is somehow a way to the Gardens of Shadow, too, though I think it is, much more, something else: it is an end refusing to be the end (as the movie actually has no beginning, also). This fourteen minutes movie dares to eliminate the story from its structure! It is a shame that Breaktime passed unobserved, because it was marking a new age in the history of cinema.

威尼斯街景，连放三遍