卡拉（芭芭拉·赫希 Barbara Hershey 饰）的丈夫在一场意外中不幸去世，集团军新卡拉不得不独自抚养他们的两个孩子，集团军新日子过得十分辛苦。某天夜里，卡拉遇见了科学无法解释的怪事，她被一股强大而又神秘的力量强暴了。由于事态过于诡异，卡拉将此归结于自己在做梦，但这股力量并没有就此消失，而是一而再再而三的骚扰着卡拉。恐惧之中，卡拉向心理医生库利（Jacqueline Brookes 饰）求助，但库利认为这只是卡拉压力太大而产生的幻觉。科学无法帮助卡拉，于是卡拉转而找到了一名玄学家，玄学家在卡拉的卧室里放置了特殊的摄影器材，并且最终拍摄下了惊悚恐怖的一幕。证据证明了卡拉并没有疯，但这也意味着，他们必须要和那个邪恶的力量正面对抗。
回复 :有“小城普希金”之称的马匹配种站副站长肖立昆（刘烨 饰）出身杀猪世家却有一颗爱好诗歌的心；小城里最美的音乐老师江月娥（倪妮 饰）刚刚结束了一段失败的感情，在这时，她与立昆相遇了。仿若一见钟情的二人迅速步入婚姻殿堂，并有了儿子，看似美满的家庭却是堆积在谎言和秘密之上。婚后的立昆和月娥矛盾日益加剧，而这时，立昆发现了月娥似乎有事情隐瞒着自己且确认了月娥出轨的事实。无法再忍耐和谦让的二人离了婚，开始了争夺儿子的大战。事情的真相随着这场战斗被渐渐揭晓，自己的儿子可能不是自己亲生的，这让童年颇有阴影的立昆无法忍受，在爱与谎言间，他的抉择是……
回复 :孝之助（渡哲也 饰）在学生时代就开始爱慕着名为多江（吉永小百合 饰）的女子，一晃眼二十年过去，多江的一颦一笑依然深深的留存在孝之助的脑海之中。一场聚会中，孝之助意外的和多江重逢了，此时的多江经营着自己的花艺工作室，她的丈夫在早年间去世了。孝之助和多江的来往渐渐密切了起来，两人屡屡出游，倾诉他们深藏在心底的梦想。孝之助因为突发心脏病而住进了医院，前去探望的多江在医院捡到了孝之助的妻子佳子。这场会面让多江意识到自己正在做一件不可挽回的事情，于是决定离开孝之助，和自己的插花老师去京都学习。孝之助最终和佳子离了婚。
陈悦
回复 :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.
