剩女脱单记

出生于80后的童涛、李文昊、金梦瑶是从小一起长大的发小，李文昊从小立志成就一翻大事业，而童涛则许下最初的梦想，立志成为著名的建筑设计师，梦想着要让心爱的初恋女朋友金梦瑶住进自己亲手设计建造的拥有大花园的大房子。 可人生不一定给你一个完美的过程，童涛经历了青春的迷茫、爱情的挫折、友情的破裂、社会的磨砺，始终坚持最初的梦想，没有迷失最初的自己，对友情，重情、重义，对爱情，矢志不渝，在最初的爱情梦想和事业梦想的路上不断追逐着。我们，还是最初的我们……

影片由三个独立而又彼此联系的爱情故事构成；三个故事分别对应爱情生活中“爱”“恨”“欲”三种情态： 　　爱——过度沉溺及固执的爱 　　恨——对于爱情的逆境，心生憎恨。 　　欲——欲望，无边无际的念头。

描述残念系美少女与抖 S 帅哥的恋爱物语，从小就超喜欢优羽的凛，因为实在是太过喜欢优羽了，导致他总是会不小心口出恶言。另一方面，虽然优羽也同样暗恋着凛，但却没有表白的自信。他们两人的距离始终都只是青梅竹马吗……？ 　　出现在凛面前的情敌和真，将为两人之间的关系带来什么样的变化？

温子谦医生﹝方中信﹞在工作上如鱼得水。家庭方面，他与程素心﹝郭可盈﹞结婚数年仍如胶似漆，女儿柔﹝谢宛婷﹞精灵乖巧，甚逗人喜爱。然而好景不常，谦风平浪静的日子因柔突然晕倒而结束，柔证实患上血癌，无论谦平日如何冷静，此刻亦心乱如麻。 　　一日，他与心往海滩散心时见一小童遇溺，谦将小孩救起，自己却被大浪卷走。翌日，当众人为谦忧心之际，谦突然出现。不过他虽如常上班，举动却异于平常。他的同事Roy﹝曹永廉﹞及Pion﹝陈伶俐﹞开始生疑：为何谦不眠不休，又不进食？闭路电视录像带拍到谦身边出现奇怪的光圈，又应如何解释？他俩坚信现在见到的是谦的鬼魂。此外，心亦开始出入殡仪馆，又看棺木又看石碑，似为谦准备身后事。 　　柔手术成功，谦却不肯松懈，仍然密切留意她的身体状况，终不支晕倒。尽管谦否认自己已死的看法，他亦不免混乱起来。当他茫然走进心的房间时，突然灵光一闪……

潘耀华（温兆伦饰）本是一位前途似锦的工程师，奈何忠直的他却被上司利用，成为代罪羔羊。华母相信儿子是无辜的，四处奔跑上书求情却不得要领。华不甘含冤入狱终于越狱逃亡。华在逃亡中，遇上了富家女韦嘉茵（翁虹饰）。他们两人在逃亡中擦出了一段炽热情缘……

　　三无男李默然因为一次偶然的机会在校园内邂逅了大学生田佳佳。两人互生情愫，但李默然鉴于失败的感情经历不敢轻易打开心扉。这时李默然的好友陈强知道了他的烦恼，主动化身军师为他出谋划策。而此时的田佳佳也因不愿放弃，求助自己闺蜜韩雪。暗恋李默然的韩雪放下了自己的感情，一心一意帮助田佳佳。但李默然和田佳佳磕磕碰碰的约会之路还是因为前女友吴蕾的介入而终止。心系李默然的田佳佳发现一切都是李默然前女友的安排后，在两位军师的帮助下，在李默然面前揭露了前女友的计划。知道真相的李默然和田佳佳重归于好，而他们的军师们也在这途中收获了爱情。

　　巴黎是艺术之都，于是故事不得不带着颜料味，吴镇宇是一位流浪画家，并且得上一种富有艺术气息的病症，在这病症惶惶终日，爱情许久远。杨恭如在上流场合里辗转，在一个切实的目标中寻觅，在爱情和金钱的天平上摇晃，就这样不期而遇上，开一场相互安慰的玩笑。
　　吴镇宇、杨恭如来玩异国浪漫，在巴黎演一出新版的《秋天的童话》。《喜欢你》轻淡入戏，苦中带甜，两位主人公便只 在安慰中相互取暖。 在最接近的时候，仿佛最遥远。徐志摩说这是个肉艳的巴黎，那它是否容得下两个异乡人默默的期许？

　　阿B（周渝民 饰）是一个失意摩托车手。6年前，他因为比赛失误从此一蹶不振，连妻子方家蔚（杨幂 饰）也弃他而去。阿B拼命寻觅，毫无头绪，张贴警告逃妻告示，也没有结果。他意志消沉，借酒消愁，嗜赌成性，遭到荔父和女儿（徐若瑄 饰）指摘。幸有好友马妞（陈嘉桦 饰）为他洗衣做饭。养父雷叔（陶泽如 饰）多次劝他付出，他却心灰意懒。这时，妻子突然出现，还给阿B领来了一个6岁的儿子彬彬（小小彬 饰）。她说有事要办，所以托付他照顾，但是并没有告诉孩子阿B是他爸爸。面对昔日赌徒追讨高利贷，昔日对手尊尼（陈楚生 饰）力邀他付出的诚意，他无动于衷。但是，与彬彬相依相伴的父子情，却慢慢治愈了他的伤痛。然而，此时妻子却突然要带孩子移民美国，这让阿B措手不及……

　　二十世纪初期是西部的转型期，但著名的侦察员兼神枪手汤姆霍恩（史蒂夫．麦奎因饰）无视时代变迁，仍坚持个人的生存原则，以单枪匹马搜捕罪犯为生，最后被时代淘汰。本片根据汤姆．霍恩的自传改编，以冷峻手法表现一个没落西部英雄的形象，手法传统，故事清淡，但颇能捕捉到暴力与死亡的痛苦感觉。

　　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.

　　甲午战后，大批日本人移民到中国东北地区。他们很多人都携家带口，有些人甚至在中国成立家庭、生儿育女。这些在中国长大的日本人，对中日两国有着极为复杂的情感。抗日战争打响之后，其中的一部分人和一些被改造的日军俘虏成立了一支独特的日本军队，加入反战同盟的战线之中。
　　抗战期间，“反战同盟”成为了一支特殊的国际主义队伍，他们为抗日战争的胜利做出了特殊的贡献，并被中国老百姓称为“日本八路”。他们的出现及其抗日义举，在世界战争史上也是少有的现象。

　　讲述一个海鸥乔纳森一般无拘无束、有自己信念的“怪女孩”Stargirl(VanderWaal饰演)，她也会弹尤克里里，会在每一个同学生日时自弹自唱为他们献上生日歌。