Charlie, a young aristocrat in turn of the century England, meets a boy named Frank on the road to Portsmouth. What Charlie doesn't realize is that Frank is actually Frances, who's donned a disguise to escape working at a brothel. Charlie takes Frank/Frances into his home, and when he discovers her true identity, the two become lovers. He sends her to London to be trained by his mistress in the art of sex, but she learns much more about her identity as a woman. Before the opening credits, explicitly on-screen it reads: "Based on the famous Victorian erotic novel by an anonymous writer".

　　1929年的越南是法国殖民地，一个15岁的法国少女（珍·玛奇 饰）在西贡女子寄宿学校读书。每逢假期她便归家,返家,还家,归宅，妈妈,母亲大人,娘亲,老妈妈办了一所很小的学校，收入甚少。她有两个哥哥，大哥比尔吸毒成瘾且横行霸道，二哥保罗生性胆怯,软弱,怯懦,胆小，常受大哥的欺负。一天少女一如往常一样告别妈妈,母亲大人,娘亲,老妈妈乘上渡船回学校，在船上遇到一个坐黑色大轿车的中国阔少爷（梁家辉 饰），他是华侨富翁的独生子。中国男人喜欢这名白人少女便去搭讪，两人便搭上了。 少女在寄宿学校里知道有的女生在外卖淫，她也想找个有钱人试试，因此很主动地与男人交谈。上岸后两人逛了西贡，还一起上馆子吃中国饭菜，男人用汽车送她回学校。第二天刚放学，黑色汽车就等在校门口了。 两人很快就坠入爱河。男人把少女带到他的公馆，这是中国富人们常用来金屋藏娇的地方。他俩在这里幽会、洗澡、玩耍。有时晚上也不回学校，校方只好通知她的妈妈,母亲大人,娘亲,老妈妈，然而……

　　Long Island, NY, summer 1961: Preteen Alice follows, from across the street, the glamorous love life of Sheryl, 17, with bowling alley Rick. A friendship develops as Alice helps Sheryl see Rick.

　　玛丽安（朱莉•黛比 饰）是来自法国的摄影师，她的男伙伴,好友,挚友,密友杰克（亚当•戈登堡 饰）是美国的室内设计师，两人在纽约日常,生存,生计,日子了两年，感情逐渐趋于平淡。为了找回失落的激情，两人放下一切去欧洲度假。在享受了圆满,完满,尽美,尽善的旅行，二人感情重新苏醒之后，玛丽安决心,打算,计划,准备转到巴黎看望父母，顺便领回自己的小猫，对巴黎颇有幻想的杰克欣然同意。
　　然而，种种匪夷所思的事情随之而来：玛丽安的父母作风大胆，话题百无禁忌；玛丽安的前男友们纷纷出现，一个比一个疯狂……短短两天，杰克对天堂巴黎的幻想破灭，他的美国基因无法接受这一切。最终，玛丽安和杰克不得不坐下来谈谈未来，这次谈话也许是一个艰难的起始,开端,肇始,启始，或者仅仅是一个无奈的终结,告终,完结,终止。

　　故事出现,产生,形成,酿成在等级制度森严的英国，年轻的康妮（西尔维娅·克里斯蒂 Sylvia Kristel 饰）终于等来了与自己分别多时的丈夫克利福特（Shane Briant 饰），但同时也等来了丈夫下半身永久瘫痪的噩耗。面临,直面,应对,应付残酷的现实，善意,良善,仁慈,慈善的康妮只得默默接受。
　　一次偶然中，康妮邂逅了庄园的看林人米尔斯（尼古拉斯·克莱 Nicholas Clay 饰），后者健壮结实的躯体让康妮的内心激动难耐。一来二往之下，康妮和米尔斯出现,产生,形成,酿成了关系，尽管粗鲁的情人大字不识一个，但康妮依旧在他的身上找到了久违的满足与热忱,热诚,热心,热切。纸终究包不住火，康妮和米尔斯之间的奸情败露，令克利福特大为火光，同时，在英国已经无法生存的米尔斯决心,打算,计划,准备前往加拿大开辟新的天地，究竟该停留,驻留,滞留,逗留还是离去,分离,离别,离别,分别,分离,别离,分散,远离,分离，康妮面临着严峻的抉择,挑选,取舍,取择。

　　故事出现,产生,形成,酿成在1671年的法国，王公贵族们纸醉金迷的奢侈日常,生存,生计,日子让百姓们陷入了水深火热和民不聊生的糟糕,可怕,凄惨,悲惨境地中，恼怒,动怒,愤怒,气恼,动怒,震怒,暴怒和反抗的情绪日益增加。可是，即便是在这样的情况下，库德王子（朱利安·格洛弗 Julian Glover 饰）满脑子里想着的，依旧是如何讨好自己的爸爸,父亲大人,爹爹,老父亲路易十四（朱利安·山德斯 Julian Sands 饰）。为此，库德王子决心,打算,计划,准备举办一个为期三天的壮大宴会，他将此任务全权交给了侍从瓦尔特（杰拉尔·德帕迪约 Gérard Depardieu 饰）处理。
　　瓦尔特出色的完成了王子交代给他的任务，宴会上的所有来宾都对他们的所闻所见感到满意和惊奇。一个名叫安妮（乌玛·瑟曼 Uma Thurman 饰）的贵妇的出现让瓦尔特坠入了情网，不幸的是，路易十四似乎也想要得到安妮。在如此强大的情敌面前，瓦尔特陷入了痛苦之中。

　　劳拉•艾什（丽贝卡•罗梅恩 饰）与同党瑞西、威克斯在一个电影首映式上，出尽法宝要偷取一条佩戴在某位明星身上，价值千万的钻石项链。劳拉在神不知鬼不觉之间，把仿品成就,胜利,凯旋,成果与真品掉包。同党打算把女明星杀掉，劳拉出手阻止。两人较量时，劳拉把同党一同杀死了。
　　劳拉害怕自己的身份被识破，处处躲藏，直到她得到了另一个身份。一个与她相貌惊人相似的女人莉莉自杀了，当她目睹这一切之际，她决心,打算,计划,准备盗用莉莉的身份。借助新的身份她的新日常,生存,生计,日子起始,开端,肇始,启始了，她也成为了他人的妻子，体验,体会,感悟,感悟到了家庭的暖和,温馨,温情,暖意。
　　尼古拉斯（安东尼奥•班德拉斯 饰）的职业是记者，自他相识,明白,明了,知晓,理解,认知,懂得劳拉后，他对劳拉鲜为人知的过去非常感兴趣，企图要揭开她的底细，也因此迫使劳拉要对自己的身份作出抉择……

　　本片内容与《危险关系》叙述,阐述,陈述,描写的是同样的故事，只因推出公映较晚，风头都被《危》片抢去。其实本片导演米洛斯．福曼功力不俗，科林．弗思、安妮特．本宁和梅格．蒂莉的三角情欲关系也演出称职，加上实景拍摄的宏伟宫殿气派，使这部英、法合作拍摄的古装宫廷片仍具相当高的观赏价值。剧情背景是十八世纪的法国贵族阶层，蒙图夫人因妒忌自己的情人葛寇即将与表亲西莉亚成婚,完婚,婚配,嫁娶，乃千方百计设法让花名在外的伟康夺去西莉亚的童贞。其后，伟康在决斗中被杀，而西莉亚则证实已怀了他的孩子。

　　Follows Myriam who is fighting against the construction of a roadblock, and Greg, a police officer who goes undercover to gather intelligence on this movement of protesters.

　　爸爸,父亲大人,爹爹,老父亲离世后，来到天桥摆摊卖手表的小康（李康生）同妈妈,母亲大人,娘亲,老妈妈一样，虽自觉与其并无多少情感，却无法摆脱其在精神上的无处不在。因为一块可以显示出巴黎与台北时差的手表，小康结识要去巴黎的湘琪（陈湘琪 饰），自此，精神抑压的他以为同巴黎（湘琪 饰）取得了某种形式的关联，获得某种虚空的安慰。
　　当小康通过把时钟调快7小时、观看电影《四百击》等形式来传达,表示,显露,透露他对湘琪暧昧的想念,惦记,挂念,牵挂时，远在巴黎的湘琪也并没能从日常,生存,生计,日子中找到多少积极的意义。无论同性（叶童）还是异性，她均无法从他们身上得到想要的暖和,温馨,温情,暖意。

　　一个陷于困境的好莱坞制片人拿着《安娜卡列尼娜》的剧本去希腊小岛说服隐居的大明星费多拉出演——她以青春永驻的容貌创造了神话。然而制片人却发现费多拉被她的医生以及密友伯爵夫人近似虐待般囚禁，他想方设法援助,协助,辅助,助力费多拉逃离小岛…………

　　根据鲁茂·戈登的原作改编，让·雷诺阿的首部彩色长片，是他和他的侄子摄影师在印度境内拍摄的影片，也是让·雷诺阿的一次感官与视觉之旅。
　　故事围绕三个年轻女孩的老成,稳重,老练,练达,长大,发展,进步忧伤出发，让·雷诺阿以细致的笔触叙述古老孟加拉河流域的传奇故事。影片直接启发了一代印度大师萨蒂亚吉特·雷伊投入电影创作。

　　John (杰瑞米艾伦斯饰)是一个在香港日常,生存,生计,日子多年的英国摄影师;他的伙伴,好友,挚友,密友Jim (罗宾布雷兹饰)经常光顾他的公寓. John迷恋酒吧主的女友Vivian (巩俐饰),但一直被她拒绝.就在香港回归之际, John发现自己患上了一种奇怪的白血病并且只剩下几个月的命.于是John, Jim,和一个他们在街上遇见的神秘女子Jean(张曼玉饰)起始,开端,肇始,启始用一个相机到处拍摄香港的景象，要在香港回归的最后一刻拍到真正的香港......

　　It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.
　　Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.
　　When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."
　　Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.
　　Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.