如果还有明天第二季

　　就读于东都大学数学系的难波胡桃（桥本爱 饰）是一个认为世间万物都可以通过公式和数字找出规律的女孩，在这个浮华的世界里，遨游于数学海洋中的胡桃单纯可爱，完全不知世间险恶。在因扑克赌博欠下300万日元债务的愁人关头，她邂逅了来学校寻访暗号专家森崎教授的初音署刑警伴田龙彦（高良健吾 饰）。伴田精明干练，却总是郁郁不得志。胡桃运用自己出色的数学才能协助伴田解决了天才数学家设下的爆炸迷局。以此为契机，这两个性格别扭的男女在命运的安排下组成搭档，朝着一桩桩高智商犯罪的考验携手冲去……
　　本片根据蒔田光治的原作改编。

　　The film accompanies Magaye Niyang, a star of Touki-Bouki, a 1972 classic directed by her own uncle Djibril Diop. Following this path, we are witness of Niyang travel to a special screening of the film, which has a public release in his old town. Niyang seems detached and with a heavy longing from the past, and therefore, the film debris permeates everything with unescapable sorrow and fascination.
　　Diop film is, first and foremost, a nostalgic travel through memory, time and recreation. It is also a watermark in contemporary experimental documentary, a very intimate portrait of a lost long journey through the past that isn’t returning anymore, a detachment of rejected fame, recognition and connection which is heavily grounded on a legacy that belongs to the past, and that connects directly to a country (Senegal) and its heritage, which is sometimes feel excruciating for the old ones (a testimony such as the taxi scene in the film, where the cab driver longs for changes, and claims that the old generation had done nothing for that).
　　Mille Soleils (A Thousand Suns) and, in itself, Mati Diop’s crucial talent, should be a point of reference into what could easily be one of the most interesting proposals of hybrid documentary cinema which has come from France, and which deals with a strong African heritage. Since 35 Rhums, where she proved her actress talent, Diop seems like a true promise for the following years of cinema.