希尔维亚

　　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.

　　故事围绕泰莎和哈丁这对情侣展开。迪伦饰演特雷弗，他是泰莎在万斯出版社的同事之一，并爱上了泰莎，这让哈丁感到非常沮丧。

　　半熟，是对青春期最合理的定义，它是梦开始的地方，没有深思熟虑，只有最单纯的坚定，然而，在这个充满意外的年纪，未来似乎变得很具体，又有着无限的可能性。这个故事里有女汉子与呆萌校草的啼笑初恋，有四朵姐妹花的袍泽之谊，也有学霸乖乖女与双胞胎才子的意乱情迷，他们躁动的热情在循规蹈矩的理智中突围，写成一首欢笑与痛，梦想与爱的青春禁曲。
　　也许，半熟与成熟之间，只差那次铤而走险的“叛逆”。

　　现代版的灰姑娘的故事。

　　Sean （谢君豪饰）任职广告公司之摄影师，喜欢到处拍摄途人。Boni （孙佳君饰）在Sean 广告公司新上任当上创作总监，她认为要成为一位女上司，不但要以实力取胜，更当摆出一副严肃、令人望而生畏的态度，方能管治下属。但Boni 这种高傲的态度，使她与同事之间产生对立。Boni 在新广告计划上表现了她卓越的才华，但在向客户推荐此计划时，其客户竟向她展示了其它广告公司与她相同意念的广告制成品。Boni 被质疑抄袭别人的创作，广告公司老板张总大怒，把她实时辞退。Boni 怀着满腔失意回家倒头大睡，但醒来时却发现自己回到昨天，并重复昨天所遇到的一切事。
　　Boni 再次面对客户指责和被辞退之辱，但她这次已冷静下来，她利用每天睡醒后也会回到昨天所累积的经验，决心要查出把她的意念泄露给其它广告公司的叛徒。在Boni 有意亲近各同事下，众人开始对她有了不同的观感。跟踪Sean 的期间，Boni 才感觉到Sean 并非她想象中那么懒散，而是一个对人对事也充满感性的人。Boni 的满腔怒火渐渐地变为对Sean 的深入了解，并渴望与他发展下去。但Boni 始终困在这「神奇的一天」，任她如何努力，醒来时还是要重新开始……

　　健身房经理卢（克里斯汀·斯图尔特 Kristen Stewart 饰）爱上了健美运动员杰姬（凯蒂·M·奥布莱恩 Katy M. O'Brian 饰），后者来到拉斯维加斯追寻健美梦想。她们卷入了一个暴力事件，背后正是卢的父亲缔造的犯罪网络。

　　一直受异性欢迎，满足于「渴望被认可的欲望」的主人公Hiromi。玩弄对方的感情自己却毫发无损。享受着恋爱的乐趣，拒绝肉体关系，这种宛如游戏般的手法，另同一合租屋的双性恋晃和恋爱不断失败的彩极为震惊。着装并不暴露很多，隐约可见锁骨，具有通透感的连衣裙是她的战斗服。看上去是随处可见的女性，但是运用精心计算的言行举止，令无数男性落马，因此被彩称为「你真是“隐藏的Bitch”啊！」
　　某一天，在职场出现了在意的对象，Hiromi第一次面对自己的真心。在受到晃的训斥「不能光依靠男人。请好好做人」后，她开始寻找＜自己需要的东西＞……

　　阿森（郑伊健 饰）和小岚（周秀娜 饰）相恋8年，而他们用以维系感情的方法只得两个字——分手。每当小岚以分手作要胁时，阿森都会变成一条死狗去求和，令小岚更加得寸进尺。当他们经历了99次分手后，二人终于认定了彼此，因而许下不能再轻易分手的承诺，更决意要一起为未来打拼，自己当老板，合力经营咖啡店。
　　一众猪朋狗友如茶餐厅太子女瑞哥（王菀之 饰）、阿森的小学同学飞云（何浩鹏 饰）及咖啡店员4大Boy （C  All Star 饰）等人不但见证着咖啡店的成长，同时亦目击营运咖啡店对阿森和小岚这对小情侣所造成的冲击。尤其是当本来平平无奇的咖啡店因着阿森天马行空的鬼主意——《分手迷你仓》，一个可以让所有爱情暴露狂来寄存自己的分手遗物，好让全世界来偷窥的地方——而大受欢迎后，阿森变得不再只以玩乐为先，开始变得成熟，对未来也更有想法。
　　咖啡店的成功令阿森跟小岚之间的距离愈拉愈远，这时候咖啡店的熟客莱莱（温心 饰）跟阿森的关系又变得暧昧不清，这一切彷佛都在引爆他们的第100次分手……

　　首部电影以校园故事为主：莉萨（Lissa）是吸血鬼家族的纯血公主，她拥有极罕见且强大的魔法。她就读于名为圣弗拉米尔的吸血鬼学院，在这里她要时时提防莫里（Moroi）家族的袭击。当然莉萨公主并非孤身一人，她有好朋友萝斯·海瑟薇（Rose Hathaway）和监护人迪米特里（Dimitri）助阵，后者还和她发生了一段浪漫的爱情故事。

　　泰石（在熙饰）是个无所事事的年轻人，他每天骑着摩托车挨家发传单，将它塞入钥匙孔中。如果过几天传单还没有被人拿掉，泰石就会撬开锁进去小住一段时间，在那洗澡做饭拍照。作为交换，他会帮主人家做些家务、打理房间。
　　一次，他在一所空房子里遇见了一个被丈夫施虐折磨过的女人善华（李丞涓饰）。她浑身青肿，眼神里流露着哀怨。逃走后的泰石惦记着善华，再返回她家时，恰好碰上善华的丈夫在虐待她，他当即出手，带走了她。
　　后来，他们两个人恢复到以前的神秘生活，结伴一起寻找空房间，虽没有言语交流，却彼此默契。一次他们进入陌生人房间时，发现一具老人的尸体，他们为他办了一个认真的葬礼后就在这件屋子快乐的住下。直到一天老人的儿子找上门来，他们被当作杀人嫌疑犯带走。泰石锒铛入狱，善华被老公带走。但是故事并没有在这里结束。

　　本片撷取著名古典小说《封神演义》中，西伯侯姬昌之子伯邑考为救父亲，无畏献身的故事。
　　商朝年间，冀州侯苏护之女苏妲己相貌可人，自小与伯邑考青梅竹马。纣王帝辛刚愎自用，荒淫无度，听闻了妲己的美色，便令人将其召入宫中，于是一对有情人不得不就此分别；轩辕坟三妖受女娲娘娘之命迷惑纣王，败坏气数将尽的商纣江山，于是千年妖狐借妲己之体成形，入宫得宠，祸乱殷商。
　　西伯侯姬昌遭到商纣王囚禁，生死未卜之际，其子伯邑考为救父身陷险境惨死，遭剁成肉泥制成肉饼，姬昌为了天下苍生，不得不吃下儿子肉泥所制成的肉饼，进而逃离朝歌，回西岐重振旗鼓， 讨伐商纣。