Yusuke Kafuku, a stage actor and director, still unable, after two years, to cope with the loss of his beloved wife, accepts to direct Uncle Vanya at a theater festival in Hiroshima. There he meets Misaki, an introverted young woman, appointed to drive his car. In between rides, secrets from the past and heartfelt confessions will be unveiled.
Koyomi Hidaka and Shiori Sato meet at his father’s research center and begin to fall in love, but so do their parents, who eventually marry. To avoid becoming stepsiblings, they decide to run away to a parallel universe. Traveling between dimensions is common in their world, but not without repercussions. Does a universe exist for the young couple, and what will it cost them to find it?
While struggling to make friends after his parents’ divorce, Koyomi Takasaki meets Kazune Takigawa, but apparently, they already have. Kazune reveals that she’s from World Line 85, an alternate universe in which she and Koyomi are lovers. But in a reality where moving between dimensions is natural, could Koyomi be the one from another world?
Middle-aged Fumi lives a quiet seaside life, she spends her days working at a small local factory, spending time with her neighbor’s son, and attending her sober-lifestyle group. One night while driving home her car is struck by a small meteorite, the odds of which are 100 million to 1. Seeing this as a good omen, Fumi decides she should be open to new possibilities in her life, even perhaps romance…
Kanae's husband disappeared without a trace while on a union trip. Though usually headstrong and independent, the woman becomes plagued with worry over what happened to him, and is unable to move on with her life. Thus, Kanae decides to hire a private investigator, and keeps running the public bathhouse to the best of her abilities. As he tries to figure out the truth about her husband, Kanae must deal with the stress from a work-intensive job, meddlesome neighbors, and recurring nightmares in which she is drowning.
Haru, a bookstore clerk, talks to Yukiko pretending to ask for directions. Haru has detected deep sorrow on Yukiko's face. Meanwhile, Haru has been spending days following Tsuyoshi discretely and checking his expressions.
In French, "scénario" is cinema's name for how it tells stories. This is the title Jean-Luc Godard chose for his final film, which was literally completed the day before his self-death. The two segments of this film open with a series of identical sequences. The second segment then diverges and ends on a self-portrait of Jean-Luc Godard -his last images- sitting on his bed, bare-chested, he hides none of the wear on his body in the manner of Pigalle's sculpted portrait of Voltaire. "Scénarios" ends as it began, with a repetition, the figure of eternal return, the moment where time, which has been the great -if not unique- question of cinema, will have ceased to flow.
