他的摩托，她的岛

　　李倩蓓（王祖贤 饰）是新当选的香港小姐，天真善良的她拥有天使般的美貌，星途一片无量。一次偶然之中，李倩蓓结识了名为梁子威（邓光荣 饰）的男子，郎才女貌的两人之间很快就产生了真挚的感情。然而，梁子威系有妇之夫，他的妻子（甄妮 饰）一直在利用娘家的权势操纵控制着丈夫。得知这一切的李倩蓓决定离开梁子威，成全他的婚姻。
　　一场意外中，李倩蓓被卷入了一场凶杀案之中，站在了法庭之上，为了证明李倩蓓的清白，梁子威不惜曝光了两人之间的隐情，也要救爱人于水火之中。见证了两人之间轰轰烈烈的感情，梁子威的妻子决定同丈夫离婚，并带走了所有的财产。

　　本片根据三毛最后一部同名作品改编。日伪时期，女作家沈韶华（林青霞 饰）在报纸上连载她的自传体小说《白玉兰》，很多情节感同身受。某日，她接到了一位神秘的读者来信。她对这个名叫章能才（秦汉 饰）的男人充满了好奇。终于，两人见面，一见钟情。然而，因为章是汉奸，常有外人滋事，令韶华很是不安。此时，她的闺中密友月 凤（张曼玉 饰）因与男友（严浩 饰）赌气，来找她倾诉。韶华一边规劝，一边把爱人介绍给她。三人一起出游，感情很好。然而，见到日本军人凌辱中国人，月凤顿觉章面目可憎。三人闹得不欢而散。此后，时局动荡，日本投降，国共开战，韶华的情感经历了更加复杂的波澜……

　　露露（露易丝·布鲁克斯 Louise Brooks 饰）是一个妓女，而她的相好史恩先生已经五十多岁了，有一个孩子阿尔瓦。史恩先生要和一个医生的女儿结婚，露露不甘，逼迫史恩先生娶她。史恩先生迫于无奈只能娶了她。在婚礼上，史恩先生又发现露露和她的皮条客史考西的亲密关系，拿出了一把手枪。史恩在与露露的争执中被子弹击毙。法院判决露露犯了杀人罪。露露和同样迷恋她的阿尔瓦、一名也爱着她的女伯爵、史考西等人一起出逃。后来露露和阿尔瓦、史考西一起逃到了伦敦。在圣诞夜，露露在街上遇到了臭名昭彰的连环杀人犯——开膛手杰克。她带着他进了房间......

　　马蒂（凯瑟琳·海格尔 Katherine Heigl 饰）的恋人在一次意外中失去了生命，怀着恋人的孩子，马蒂不知道今后的生活该何去何从。此时，一个名叫克拉克（戴尔·米德基夫 Dale Midkiff 饰）的男人出现在了马蒂的面前，他以给孩子找个母亲为由向马蒂求婚，并允诺会在来年春天付给马蒂回城的旅费，迫于生计，马蒂答应了。
　　幸运的是，克拉克是一位正人君子，他对马蒂以礼相待，绝不做任何非分之举。可是克拉克的女儿却并不像她的父亲那样，对于凭空出现的“母亲”，她产生了强烈的排斥心理。随着时间的流逝，马蒂的温柔和开朗逐渐的化解了她和继女之间的坚冰。暴风雪过后，春天很快就要来到，眼看约定好的离别的日子越来越近，马蒂和克拉克的心中都充满了依依不舍的情怀。

　　英国社工哈娜再次回到埃及古城卢克索的时候，偶遇了她的旧情人苏尔丹。这个浪漫而又有才华的考古学家让故地重游的哈娜情绪跌宕起伏，不断涌现的旧时回忆让哈娜沉醉于过去，却又苦恼于难以预知的未来。

　　Russel（汤姆·库伦 Tom Cullen 饰）是一个同性恋者，他在人群中小心翼翼地隐藏着自己，生怕被别人发现他是同性恋。一个周末晚上，参加完朋友聚会的他来到一家Gay Bar寻找一夜情。他遇见了Glen（克里斯·钮 Chris New 饰）。一夜之后，Glen让Russel录下了一段他对性的看法。Glen是个在美术馆工作的艺术家。之后他们又见了几次面，在一起讨论他们的过去，他们的人生，他们对同性恋的看法，Russel也了解到Glen关于同性恋的激进观点。Glen要去美国读书，在告别派对上，他们两人偷偷溜了出来，享受了最后只属于他们两人的时光。第二天，Glen即将离开，Russel得去参加朋友女儿的生日聚会。但在聚会上，Russel又无法停止对Glen的思念，他最终还是决定去找Glen......
　　这部英国电影在2011年3月美国德克萨斯州奥斯丁的SXSW电影节上首映，收获了不少好评。

　　本片以过三十年代的大乐队时代为故事背景，描述一名萨克斯爵士乐手与一名女歌手之间爱恨交缠的情感，充满着人生的困惑和奈，跟一般好莱坞歌舞片的明亮轻快大异其趣

艾比是她大学好友塞雷娜主持的热门播客的助理兼撰稿人。记者从纽约赶来，撰写有关播客和塞雷娜的文章。艾比开始对塞雷娜产生感情，但塞雷娜已经有了自己的计划。

　　Sean （谢君豪饰）任职广告公司之摄影师，喜欢到处拍摄途人。Boni （孙佳君饰）在Sean 广告公司新上任当上创作总监，她认为要成为一位女上司，不但要以实力取胜，更当摆出一副严肃、令人望而生畏的态度，方能管治下属。但Boni 这种高傲的态度，使她与同事之间产生对立。Boni 在新广告计划上表现了她卓越的才华，但在向客户推荐此计划时，其客户竟向她展示了其它广告公司与她相同意念的广告制成品。Boni 被质疑抄袭别人的创作，广告公司老板张总大怒，把她实时辞退。Boni 怀着满腔失意回家倒头大睡，但醒来时却发现自己回到昨天，并重复昨天所遇到的一切事。
　　Boni 再次面对客户指责和被辞退之辱，但她这次已冷静下来，她利用每天睡醒后也会回到昨天所累积的经验，决心要查出把她的意念泄露给其它广告公司的叛徒。在Boni 有意亲近各同事下，众人开始对她有了不同的观感。跟踪Sean 的期间，Boni 才感觉到Sean 并非她想象中那么懒散，而是一个对人对事也充满感性的人。Boni 的满腔怒火渐渐地变为对Sean 的深入了解，并渴望与他发展下去。但Boni 始终困在这「神奇的一天」，任她如何努力，醒来时还是要重新开始……

　　Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"?
　　The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski)
　　From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.

　　Lauren wants to rebuild her community, including her family home, in the aftermath of a devastatingly disastrous storm.

　　该系列的电影剪辑。艾在国外学习，直到他因吵架被开除后，他的父亲强迫他返回泰国，他在他任教的大学上课。在那里，艾遇到了骑哈雷戴维森的新同学陈南海，他痴迷于一个黄色的鸭钥匙扣。艾一见钟情，一场旋风般的爱情随之而来。~~改编自小说《爱龙纳萨科恩(นทกร).)的《海》(อัยย์หลงไน๋)
　　Movie cut of the series.
　　Ai studied abroad until, after being expelled for quarrelling, his father forces him to return to Thailand where he attends classes at the university where he teaches. There, Ai meets Chen Nhai, his new Harley Davidson-riding classmate who has an obsession with a yellow duck keychain. Ai falls in love at first sight and a whirlwind romance ensues.
　　~~ Adapted from the novel "Ai Long Nhai" (อัยย์หลงไน๋) by Nathakorn (นทกร).