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　　从小被父母遗弃并被加拿大人领养到温哥华的武克（锦荣 饰）因帮朋友出头，误杀黑帮头目Billy的弟弟，出狱后被寻仇头部中枪却侥幸不死，但却因子弹取不出来，仅剩半年的生命。武克决定死前回中国寻找亲生父母，却再次遇见曾在温哥华有过一面之缘的女孩恩彩（温心 饰）。在堂姑姜海雁（伍宇娟 饰）的引导下武克找到生母谭慧茹（王姬 饰），见母亲身处豪门，想到自己被抛弃的命运和饥寒交迫的漂泊生活，此刻又命在旦夕，武克不忿，出于报复并未相认，且答应做其生母的养子崔允（黄恺杰 饰）的司机，与恩彩共同寻找妹妹过程中渐生情愫。最后得知，寻亲过程却是堂姑一手策划的阴谋，一段隐藏了二十多年的身世真相渐渐浮出水面……

这是一个上世纪20年代的真实故事。朵拉（艾玛·汤普森 Emma Thompson饰）是英国文艺圈里的一名画家，她长相帅气，心中有着世俗无法理解的感情观；同样的性格也可以在作家利顿（乔纳森·普雷斯 Jonathan Pryce 饰）身上看到。他们心灵相通，互相寄托着真爱，却又同时在其他人身上寻找慰藉。利顿在爱上朵拉的同时，也对另一名男子帕特里奇（史蒂芬·威丁顿 Steven Waddington 饰）钟情，于是，朵拉选择了嫁给帕特里奇，从而留住心爱的利顿。当帕特里奇的朋友杰罗（塞缪尔·韦斯特Samuel West 饰）远道而来后，朵拉和这个新来的朋友很快就打得火热。终此一生，他们都在不同的角色中间游走，当利顿病逝后，朵拉也结束了自己的生命。也许朵拉和利顿心中的真爱，已经交付给彼此。©豆瓣

　　爱伦是夜班护士，刚与男友分手；她的母亲遂替她登了徵婚启事，结果反应热烈，但在一连串口不对心的约会后，她对男人更加失去信心。在水族馆打工的艾伦是半工读的进取男人，正当他要接纳向他展开追求的风骚女同学，竟发现她已搭上他们的教授。艾伦和爱伦在屡战屡败的爱情路上流连，终于偶然相遇，这次的缘份能让他们共度一生吗？

　　1988，西北小镇三个少年马卫国（范植伟 饰），铁头与四化都过着那个年代全国统一的少年生活，群架就是运动，诗歌便是爱情，恨的时候砸你家玻璃，爱的时候爬上山头高歌一曲。某天班级一位只穿红裙的都市女孩杨朵朵（马思纯 饰）转学而来，她带来了美更带来一股无法抵御的都会风情，在那个精神贫瘠的年代他们第一次感受到摇滚，马卫国就在那时爱上BEYOND也爱上杨朵朵，只是青春总是与残酷与忧伤紧紧依偎，杨朵朵的到来自此改变这些懵懂少年的命运……
　　青春的叛逆与逃离，爱情与友情背叛，世俗的妥协与抗争伴随着他们各自成长，电影从1988始到2011终，整整二十三年，记录他们的成长的心路历程。再见青春，再见灿烂的忧伤；再见青春，再见美丽的疼痛。岁月静好，悄然无声，他们就是他们，他们也像极了从那时走到如今的每一个人。

 故事发生在一九三九年的夏天，克里姆（沃尔特·皮金 Walter Pidgeon 饰）和妻子米尼佛夫人（葛丽亚·嘉逊 Greer Garson 饰）住在英国郊外，两人结婚多年，生了三个孩子，生活幸福美满。克里姆的大儿子韦恩（理查德·内伊 Richard Ney 饰）爱上了花会创办人的孙女贝尔（特雷莎·怀特 Teresa Wright 饰），情投意合的两人很快走到了一起。战争开始了，韦恩想要为国效忠，赶往了前线，而克里姆和米尼佛夫人则在后方支援。某日，一名德国飞行员受伤闯入了米尼佛夫人的后花园，米尼佛夫人凭借着自己的勇敢与智慧协助警察成功将其捉拿。米尼佛夫人和贝尔小姐在送韦恩前往驻地的途中遭遇了空袭，一时间凶多吉少。

与世隔绝的海岛，深海中的杀妻阴谋正在惊悚上演！这场诡异阴谋被一次次更加诡异离奇的事件打断！男主声嘶力竭，几近疯狂！当终极恐怖被错乱的时空频频撕裂，孤岛男女还能否从这片“诡海”逃出生天？

　　28岁的威廉（格辛·安东尼饰）因祖父的一封来自丹麦的信，决定与好友杰瑞米（塞巴斯蒂安·阿梅斯托饰）及其他的女友（奥利维亚·格兰特饰）前往哥本哈根探寻自我。在根本哈根，威廉认识了当地女孩埃菲（Frederikke Dahl Hansen饰）并逐渐爱上了她。但是某日，威廉发现埃菲竟然只有14岁，他意识到要认真对待这份感情……

　　影片从家喻户晓的安徒生童话中汲取灵感，以天真、勇敢兼具反叛精神的美人鱼爱丽儿（海莉·贝利 Halle Bailey 饰）为主角。渴望探索大海以外世界的她爱上了人类王子亚历克（乔纳·豪尔-金 Jonah Hauer-King 饰）。爱丽儿追随内心的声音，不惜违背传统，与邪恶的海底女巫乌苏拉（梅丽莎·麦卡西 Melissa McCarthy 饰）达成交易以换取体验人类生活的机会，却发现将自己和父亲都置于极度危险的境地……

　　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.

　　落寞的青年亚历克斯（德尼·拉旺 Denis Lavant 饰）独自徘徊巴黎街头，他的女友移情别恋，不久又要去服兵役，钟爱的电影事业前景模糊。偶然机缘，亚历克斯进入一个私人聚会，并结识了美丽的女孩蜜蕊拉（蜜蕊拉·皮雷 Mireille Perrier 饰）。蜜蕊拉此前与男友伯纳情深意笃，为了爱情她甘愿奉献一切，这却让对方无法承受如此炽烈的感情，只能选择逃避。相同的境遇让他们走到一起，互诉各自的情感经历，两人的心由此更加贴近。亚历克斯和蜜蕊拉相互依偎，空气中弥漫着悲伤无望的气味……
　　本片为莱奥·卡拉克斯（Leos Carax）导演处女作，并荣获1984年戛纳电影节青年奖。

　　莫顿（杰西达邦·福尔迪 Jesdaporn Pholdee 饰）和娜姆（娜特慧兰·塔美 Natthaweeranuch Thongmee 饰）在很小的时候就认识了，那个时候，其貌不扬的莫顿喜欢画画，在他关于未来的画面里，娜姆是唯一的女主角。莫顿要转学了，临走之时，他讲一个小口哨送给了娜姆，并且告诉她，如果哪一天她需要他的出现，那么就吹响这枚口哨。
　　一晃眼多年过去，娜姆早已经淡忘了莫顿的存在。此时的她深爱着另一个男孩，娜姆甚至为了这个男孩去做了一份自己根本不喜欢的工作。在一场意外之中，娜姆有难，莫顿突然出现在她面前救了她，在莫顿的鼓励之下，娜姆决定正视内心里的感情，勇敢的去追寻自己所爱。