黑暗的胜利

　　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.

　　梅根（瑞秋·斯盖顿 Rachel Skarsten 饰）拥有着令人羡慕的幸福生活，她和丈夫托马斯（布兰特·道格尔迪 Brant Daugherty 饰）之间的感情非常的恩爱，两人共同抚养着可爱乖巧的孩子，享尽了天伦之乐。梅根再也没有想到的是，有一天，她拥有的这一切都变成了泡影。
　　某日，当梅根醒来之时，发现自己仿佛穿越到了平行世界的另一段人生里。在这段人生中，她还没有结婚，甚至都不认识托马斯，孩子自然也无从谈起。当梅根想尽了一切方法都无法回到她原本的生活中去后，她选择了向现实妥协，并且找到了一份工作。然而，仿佛是上帝开了一个玩笑，梅根的新上司不是别人，正是托马斯。

　　在一架飞机上，基雅（卡琳娜·卡普尔 Kareena Kapoor 饰）邂逅了名为卡比尔（阿琼·卡普尔 Arjun Kapoor 饰）的男子。让基雅感到意外的是，这个看上去铁骨铮铮的硬汉，竟然眼泪汪汪的害怕的簌簌发抖。原来，卡比尔害怕坐飞机，每次坐飞机的时候都是母亲安抚着他的情绪，然而故人已逝，卡比尔不禁触景生情。
　　为了安慰卡比尔，基雅紧紧的握住了他的手，一段浪漫的恋情就此拉开序幕。没过多久，基雅和卡比尔就决定携手步入婚姻的殿堂，可是，他们在家庭里所扮演的角色却仿佛调了个个儿，基雅每日出门工作赚钱养家，而卡比尔则坐镇家中主持家务。他们的朋友和家人们会怎样看待这段逆转的关系呢？

　　这是我国第一部瞄准情人节档期的影片。
　　这部电影讲述的是一个都市青年寻找昨日爱情的动人故事：优秀的外企白领(陆毅饰)对曾与自己有过一夜情缘的无名女孩(范冰冰饰)念念不忘，痴情的他认定那位无名女孩是自己此生最唯一的真爱并开始苦苦寻找……

　　上虞县祝家庄，玉水河边的庄园内住着美丽贤淑的千金小姐祝英台（袁雪芬 饰），她见读书人在庄前来来往往，分外羡慕，无奈封建礼教女子无才便是德，父亲决不允许她走出闺阁半步。英台为此唉声叹气，继而心生一计，乔装成卜卦先生说动父亲，终于获准出门前往杭城读书。她遵照父亲指示，打扮成男子模样外出，三年学成后即刻还家。英台得偿所愿，兴高采烈，在前往杭城的途中结识了来自会稽的翩翩公子梁山伯（范瑞娟 饰）。二人相谈甚欢，志同道合，引为知己。求学期间，英台小心隐瞒身份，与梁兄的友情日益加深，且暗暗喜欢上这个博学的公子。转眼三年，英台接到父亲的催返家书。情意缱绻的十八相送，虽然暗示有情郎，无奈一别终成永远……
　　本片根据中国传统民间故事改编。

　　Will Keane（理查·基尔 Richard Gere 饰）是纽约的钻石王老五，年近50的他极具男人魅力，用微笑和交友令自己的财富一直翻倍，而他和城中女人的关系更是错综复杂。他习惯每天带不同的女人到自己的饭店吃饭、然后睡觉、翌日分手，周而复始。直到他遇到了19岁的女 孩儿Charlotte（薇诺娜·瑞德 Winona Ryder 饰），她的年轻活泼、天真才气令他倾倒。
　　她在他的饭店举办20岁生日会，他赠她最好的洋酒；知道她最爱设计帽子，便请她替与自己出席慈善晚会的女伴设计一个特别的帽子，到了当晚却携她出席；他们很快发生关系，他如同往常一样，想在翌日跟她摊牌，没想到她直接说她知道这个结果，但他不用担心她会纠缠他，因为她只剩下一年的生命。
　　患有先天性心脏病的Charlotte自幼便失去了父母，跟随着酗酒的祖母长大，一直孤独，直到遇见了Will；而当年Will曾和Charlotte的母亲相爱，他发现自己已经爱上了Charlotte，并且害怕失去她。面对所剩无几的时间，他们该怎么面对爱情和人生？

This first film version of "The Children's Hour" uses a heterosexual triangle rather than the play's lesbian theme. The plot concerns schoolteachers Karen Wright and Martha Dobie, both of whom are in love with Dr. Joe Cardin. The malicious lie of one of their students involves all three in a scandal which disrupts all their lives.

　　故事发生在车水马龙的繁华都市纽约，富人们西装革履出席着杯觥交错的盛大宴会，穷人们在黑暗的阴影里沉浸在酒精和毒品所制造的短暂天堂里醉生梦死。不幸的过去让海伦（吉蒂·温 Kitty Winn 饰）的内心里充满了伤痛与迷惘，她想逃离痛苦的生活，却始终找不到正确的途径。
　　一次偶然中，海伦遇见了名叫鲍比（阿尔·帕西诺 Al Pacino 饰）的小混混，同是天涯沦落人，境遇相似的两人渐渐地走到了一起。随着时间的推移，海伦发现鲍比其实是一个无可救药的瘾君子，海伦沦陷了。毒海无涯，海伦对于毒品的需求变得越来越强烈，无法自控的她甚至选择了出卖身体以换取毒资，知道了这一切的鲍比陷入了深深的痛苦之中。

　　讲述的是一个女子受到诱惑希望能一夜改变自己的人生，不顾危险登上了澳门最高级的豪华游艇，和两个男人之间产生了爱和欲望的故事。林秀晶在片中饰演被朋友背叛，被债主追债的女主人公智妍，她为了能摆脱困境而接受了一个看似可以改变人生的提议，却陷入了危险的欲望之中。柳演锡饰演出现在智妍面前的神秘男人，和智妍在澳门第一次相遇之后就牵绊在一起，之后两人之间就有一种暧昧的紧张感，关系走向令人非常好奇。
　　翻拍自肖恩·康纳利1960年代的作品 Woman of Straw，，讲述了一段因心爱的男人的请求投入他人怀抱，最终以悲惨结局收场的悲情罗曼史。

　　斯奈利和达利从小就是性情迥异的死对头，即使是长大后达利变成威风的骑警，斯奈利仍为无恶不赦的大坏蛋，在一次抢劫活动，斯奈利占据了小镇，一切都在乱无法纪的状况下进行，达利要如何解决这混乱的场面让小镇恢复平静？

　　消防员与医生，两种不同的职业，性质却是一样的，都是救人于水火之中。但同样的，身处这两种职业的人们也需要被治愈，需要创口贴来愈合伤口。
　　作为消防员的姜一（高修 饰）整日穿梭于大街小巷，拯救他人生命，可却挽救不了妻子的生命；大大咧咧，看似没心没肺的女医生美秀（韩孝珠 饰）内心却因为一次医疗事故而封闭了自己。二位满身伤口的人相遇于一次救助行动，美秀被姜一所吸引，大胆展开了追求，熊熊烈火，冰山也会渐渐融化。每日都与死亡打交道，但也见证生命的力量和奇迹的诞生，让二人更加体会到生存的意义和眼前人的珍贵，在一来一往中，互相抚慰了内心的伤痛，成为了彼此伤口的创口贴。

　　高中生乖乖美女Emma、孤僻帅帅男Dean及其同学到岛上度，两人由于偶然意外被困于孤岛，Emma心有所爱，Dean则偷偷暗恋，两个人在孤岛上的近百天内越靠越近……
　　电视电影，跟旧的那个《青春珊瑚岛》没有任何联系，也没有任何可比性，女角自然不可能像波姬小丝那样娇美，电影尺度也远远不如《青》，只能算是把小青年的纯爱青春片从学校搬到了小岛上而已，整个电影没有重点，不知所谓。