因为你爱过我

　　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.

　　一对新婚夫妻，面对买房热，考虑再三也加入了看房的大军中。妻子（尹媗  饰）一开始看中的是一套两居室，无论是价格还是适用性，这套房子都很适合这个小家庭。可是在周围人的影响和自己的虚荣心作用下，妻子竟又将目光投向了郊区的别墅。这对工薪阶层的二人来说无疑太过昂过，只是在妻子的一再坚持下，丈夫（王飞 饰）也就勉强同意了。交了首付后，二人还有巨额的房贷需要还，经济压力巨大，二人不得不在房子装修之前就搬进了别墅。妻子发现现实的生活与她的想象差距甚远：住在毛坯房里吃着泡面；忍受小区内其他人不友好的眼光；就连上班也变成了一件困难的事……夫妻由此沦为房奴，他们要如何摆脱这泥沼般的生活？

　　故事发生在上个世纪90年代末，花田乡乡长高德明的妻子郑芬芳张罗着给自己的小妹郑晓雅相亲，郑晓雅的恋人江波得知后赶走了相亲对象，这使得郑芬芳大怒。
　　郑芬芳到江波的爸爸江德道家闹事……高德明强迫妻子去向江德道道歉却被有当地‘花王’之称的老丈人郑汉江阻止，高德明不得其解。
　　鄢陵县委县政府决定以高德明所在乡为试点，闯出一条特色农业经济的途径，让乡亲们的日子富裕起来，高德明临危受命。

　　故事發生在20世紀夏威夷咖啡田的背景下，關於一個超越種族和階級界限追求禁忌之愛的年輕人的成年旅程

　　马奇夫人（劳拉·邓恩 Laura Dern 饰）有着四个如花似玉的女儿，大女儿梅格（艾玛·沃森 Emma Watson 饰）拥 有着美丽的外表，和对于爱情的天真憧憬。二女儿乔（西尔莎·罗南 Saoirse Ronan 饰）满脑子塞着古灵精怪的念头，整天拿着蘸水笔东写西写，她的故事在全家上下都受到了热烈的欢迎。三女儿艾米（佛罗伦斯·珀 Florence Pugh 饰）渴望成为一名画家。最小的女儿贝斯（伊莱扎·斯坎伦 Eliza Scanlen 饰）虽然个性比起三个姐姐要来的内向的多，却拥有杰出的音乐天赋。
　　在马奇夫人的教导之下，四个姑娘渐渐成长为了拥有独立人格的杰出女性，她们热情、乐观、善良，每个人都在各自的道路上坚强而又坚定的前进着。

　　故事取材新加坡盲聋教师特丽莎的故事，诠释现代人的爱情观。本片由三个独立成章的小节，却同是关于爱。不论是在情路上刚刚起步，还是在感情路上绊倒，又或者走到人生的终点，不管是哪一刻。恋爱的人总是希望和所爱的人在一起。可是“Be With You”不是那么容易，第一章“曾经爱”的老夫老妇，每天都看守着店铺，日出开铺日落关铺，变成了恒常的生活定律，可是今天，关铺的已剩下老翁一个。第二章“寻找爱”的平凡胖子，终于鼓起勇气示爱，但命运之神已经突然插手。最后一章“太过爱”的烈火青春，让二十来岁的少女爱得火热，但一下子爱得过火热得烫手，另一方已经松开了手。

　　太逸（黄政民 饰）是一名帮高利贷讨债的小混混，人到中年的他不仅没有份正经的工作，甚至连个住的地方都没有，寄宿在开美发店的哥哥英逸（郭道元 饰）家。太逸有着自己的人生哲学，那就是借出去的钱一定得要回来。大大咧咧的他完全不懂得如何尊重女性，亦和浪漫的爱情故事无缘。
　　某日，在去讨债的途中，太逸邂逅了名为周皓婷（韩惠珍 饰）的美丽女子，那一瞬间，太逸懂得了什么叫一见钟情。然而，太逸并不能给予周皓婷她所想要的生活，第一次，太逸决定为了自己之外的人做出改变。然而，面对两人之间巨大的悬殊，太逸能够坚持他的感情吗？与此同时，接二连三发生的意外亦让太逸的生活陷入了麻烦之中。

　　余志刚(吕奇)是一个靠女人养活的小白脸,一天巧遇女售货员刘慧仪(陈宝珠),两人双双堕入爱河,被白梦萍(夏萍)得知大怒,到慧仪工作地方大闹一场,更被公司开除,刘父一向视慧仪作摇钱树,强逼她到舞厅做歌星,反招志刚误会,志刚决定离开白梦萍更与慧仪冰释前嫌,梦萍不能接受现实,驾车把志刚撞倒,究竟志刚生命有否危险,梦萍怎样面对事实,慧仪与志刚能否永远在一起……

　　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。

　　本片以美国50年代美苏冷战时期为背景，围绕女主人公凯蒂·莫若斯凯（芭芭拉·史翠珊 Barbra Streisand饰）与男主人公哈贝尔·加德纳（罗伯特·雷德福 Robert Redford饰）讲述了一段由相识到相知相恋，却因彼此间个性和政治立场的差异而分手的爱情故事。凯蒂，性格倔强浓烈的左翼女生，在校担任青年政党联盟主席；而主张明哲保身的哈贝尔则是学校有名的运动和写作才子。两人顺理成章地走到一起，也不可避免地分道扬镳。许多年以后，哈贝尔在街头与凯蒂重逢，往日情怀，不禁涌上心头。
　　由著名导演西德尼·波拉克执导的影片《往日情怀》，根据阿琴·劳伦茨的小说改编而成。导演波拉克十分擅长反映当今社会的政治问题和揭露一些社会现实，而这部具有浓厚政治意味的好莱坞爱情片，更成为当时具有知识分子味道的代表作。波拉克一生导演了19部影片，共获得46项奥斯卡提名。本片则荣获1974年第46届奥斯卡金像奖最佳原创歌曲、剧情类最佳配乐及最佳女主角提名等多项大奖与提名。

　　The game of love starts in a typical blues bar. The hot and magic rhythm of the blues makes even the shiest man throw away his fears and participate in the erotic of the night.

　　影片由匈牙利超现实主义大师埃涅迪·伊尔迪科执导并改编自菲什特·米兰1940年代同名小说《吾妻之话》，回忆什特尔·雅各布船长和友人打赌，与下一位走进咖啡馆的女子结婚。由此，他娶了一名法国女子，有了一段不幸婚姻，并怀疑妻子于己不忠。