1825年，欧美后拿破仑时代汉诺威王国伦尼茨的小伯爵，欧美英俊、聪明的森林管理员沃尔特·菲什特纳在被选为悲观的海因里希伯爵无用的儿子迪博尔德忠诚的男仆时，忘记了他接任前任导师、老地产管家森内森的梦想，即使他被当作替罪羊虐待，森内森依然忠心耿耿。沃尔特的情人，不守规矩的女仆吉塞拉·弗纳格尔，经常因为嘴唇和一些小毛病而惹上麻烦，这都是欺负她的伯爵夫人命令她要的。沃尔特总是抵制和磨练她的革命思想。森内森是侧身，但设法让伯爵提拔沃尔特作为他的继任者。嫉妒的迪博尔德怀有一点怨恨，渴望吉塞拉并设下一个可怕的陷阱。
顺子
回复 :本片翻拍自1980年苏联同名经典影片。极富正义感的飞行员古辛（丹尼拉·科兹洛夫斯基 Danila Kozlovsky 饰），因违抗上级命令而被军队开除，成为民航机组的实习飞行员，并结识了精神导师津琴科（弗拉基米尔·马什科夫 Vladimir Mashkov 饰）和恋人亚历珊德拉（阿格尼·格鲁迪特 Agn? Grudyt? 饰）。然而，在一次飞行中，突遇的火山爆发、恶劣的天气状况让机上的一切都失去了控制，机上所有成员命悬一线……
孙浩英
回复 :某日，巡警约翰（史蒂芬·鲍德温 Stephen Baldwin 饰）在街头偶遇了一名毒贩，约翰误以为毒贩想要攻击自己，便率先对其开了枪，哪知道毒贩的身上根本就没有武器，这也就以为着，约翰作为警察，杀死了一个手无寸铁的人，等待着他的，将会是严厉的裁决。此时，某位神秘人物现身，帮助约翰脱离了困境，作为代价，约翰必须加入他所领导的一个特勤小组之中。此小组作风极为冷酷，执行任务之时实行格杀勿论的政策，约翰对此十分反感，却也无可奈何。一次行动中，约翰放走了一个无辜的脱衣舞娘肯蒂（蒂亚·卡雷尔 Tia Carrere 饰），行动小组得知此事，遂对肯蒂发起了追杀行动。
林琼珑
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
