萨宾（碧翠丝·罗曼德 Béatrice Romand 饰）交往过几个男人，但遗憾的是他们均是有妇之夫，这让萨宾感到十分不悦。某一天，萨宾忽然告诉她的好友克拉丽丝（阿丽尔·朵巴丝勒 Arielle Dombasle 饰）自己决定结婚，可她连个男朋友都还没有呢！在克拉丽丝的介绍下，萨宾结识了名为艾德蒙（安德烈·杜索里埃 André Dussollier 饰）的男子，艾德蒙是一名律师，年纪轻轻事业有成，萨宾认定了艾德蒙是她未来规划中的完美丈夫。 　　就这样，萨宾和艾德蒙展开了周旋，她十分渴望得到艾德蒙的青睐，却又不愿意做主动的那一方。对于萨宾的亲近，艾德蒙不主动不拒绝，直到他开始以种种借口避免和萨宾通话和见面，萨宾才发现，自己一厢情愿的举动是多么的天真。

萨宾（碧翠丝·罗曼德 Béatrice Romand 饰）交往过几个男人，但遗憾的是他们均是有妇之夫，这让萨宾感到十分不悦。某一天，萨宾忽然告诉她的好友克拉丽丝（阿丽尔·朵巴丝勒 Arielle Dombasle 饰）自己决定结婚，可她连个男朋友都还没有呢！在克拉丽丝的介绍下，萨宾结识了名为艾德蒙（安德烈·杜索里埃 André Dussollier 饰）的男子，艾德蒙是一名律师，年纪轻轻事业有成，萨宾认定了艾德蒙是她未来规划中的完美丈夫。 　　就这样，萨宾和艾德蒙展开了周旋，她十分渴望得到艾德蒙的青睐，却又不愿意做主动的那一方。对于萨宾的亲近，艾德蒙不主动不拒绝，直到他开始以种种借口避免和萨宾通话和见面，萨宾才发现，自己一厢情愿的举动是多么的天真。

女捕头李一月赴西北查案与北海龙三太子童灵相识互生情愫，却被上仙的心魔魇设计反目成仇。月老为保住二人性命，抹除其记忆，二人从此分离。三年后，李一月与童灵意外相逢，二人阴差阳错下再次爱上对方，并携手消灭魇、拯救人间。

女捕头李一月赴西北查案与北海龙三太子童灵相识互生情愫，却被上仙的心魔魇设计反目成仇。月老为保住二人性命，抹除其记忆，二人从此分离。三年后，李一月与童灵意外相逢，二人阴差阳错下再次爱上对方，并携手消灭魇、拯救人间。

The Good Woman of the story is Aoi. In Thai, her name means 'sugar cane' or 'sweet' - not her real name but the one she uses. She works as a prostitute, catering to the male tourists who crowd the girlie bars of Patpong. 　　 　　"They stayed at a seedy hotel in the red-light district. Much of the filming and video recording took place there, and in the months that followed he fell in love with her." 　　 　　"He paid and was her customer. She became the subject of his film." 　　 　　Starting from this worst-possible condition, Aoi's life is described and their relationship is recorded: its evolution from fake sexual intimacy to collusion in the process of making the film and, finally, to difficult friendship and a kind of love. 　　 　　Note by the filmmaker 　　 　　"Like the Brecht play which inspired the title, this film is an ironic parable about the impossibility of living a good life in an imperfect world. It is also an attempt to describe in this form, and to conflate, what is so banal about sex with a measure of what is profound. It is a film about prositution as a metaphor for capitalism, here played out across the borders of race and culture, and about prostitution as a metaphor for all relations between women and men. 　　 　　It is also about voyeuristic tendencies which are inherent in all film making and film viewing. It is my hope that, as with Brecht, we are confronted with a vision of ourselves, thus forcing the consideration of how personal sexuality affects political and philosophical beliefs. In this film I have exposed myself in order to force the audience to reconsider the whole nature of documentary film practice. Under the thrall of our separate desires, we are all implicated in some way."

俗话说，三个女人一台戏，一群女人等于500只鸭子。全新生活时尚综艺类节目《好女人》中，将有多达五位美女聚集在一起组成“美女主持团”，有望成为娱乐频道所有新节目中最养眼的一档。

俗话说，三个女人一台戏，一群女人等于500只鸭子。全新生活时尚综艺类节目《好女人》中，将有多达五位美女聚集在一起组成“美女主持团”，有望成为娱乐频道所有新节目中最养眼的一档。

The Good Woman of the story is Aoi. In Thai, her name means 'sugar cane' or 'sweet' - not her real name but the one she uses. She works as a prostitute, catering to the male tourists who crowd the girlie bars of Patpong. 　　 　　"They stayed at a seedy hotel in the red-light district. Much of the filming and video recording took place there, and in the months that followed he fell in love with her." 　　 　　"He paid and was her customer. She became the subject of his film." 　　 　　Starting from this worst-possible condition, Aoi's life is described and their relationship is recorded: its evolution from fake sexual intimacy to collusion in the process of making the film and, finally, to difficult friendship and a kind of love. 　　 　　Note by the filmmaker 　　 　　"Like the Brecht play which inspired the title, this film is an ironic parable about the impossibility of living a good life in an imperfect world. It is also an attempt to describe in this form, and to conflate, what is so banal about sex with a measure of what is profound. It is a film about prositution as a metaphor for capitalism, here played out across the borders of race and culture, and about prostitution as a metaphor for all relations between women and men. 　　 　　It is also about voyeuristic tendencies which are inherent in all film making and film viewing. It is my hope that, as with Brecht, we are confronted with a vision of ourselves, thus forcing the consideration of how personal sexuality affects political and philosophical beliefs. In this film I have exposed myself in order to force the audience to reconsider the whole nature of documentary film practice. Under the thrall of our separate desires, we are all implicated in some way."

女大学毕业生周倩格为爱情放弃了去北京发展的机会，与恋人汝平度过一段清贫却温馨的日子。但好景不长，一天晚上酒后的汝平由于情绪一时失控，提前占有了倩格，破坏了两人间的"君子协定"，气愤和失望的倩格连夜出走，在走投无路之际，巧遇了有数面之交的作家子寒。子寒对倩格的遭遇显示出了成熟男人的宽容和理解，使倩格顿生宾至如归之感 年轻气盛的汝平对倩格的出走十分恼怒，他想当然地认为是子寒耍手腕骗走了倩格，便三番五次地向子寒挑衅，并乞求倩格跟他回去。汝平的醋意和过激行为不但没能使倩格回心转意，反而将倩格一步步推向了子寒。在子寒的支持下，酷爱摄影的倩格创办了格格黑白艺术摄影社，生意相当红火 汝平在沮丧之余偶然结识了美丽的上官红杉，初次见面后两人喝得酩酊大醉，汝平糊里糊涂地把红杉带回了家……但红杉不以为忤，反而觉得汝平正是她理想中的爱人。不久，红杉怀孕，当她满怀喜悦将这一消息告诉汝平并提出要和汝平结婚时，却遭到了仍对倩格一往情深的汝平的冷遇。气极的红杉暗中得知了汝平和倩格的旧情，失去理智的她找到倩格的摄影社，对倩格无理取闹，遭到倩格的痛斥。为了报复汝平，红杉连续找了几个她以前的男朋友想与他们结婚，但没想到都遭到婉拒。红杉无法接受这样的现实，开始放浪形骸 与此同时，倩格与子寒之间也出现了裂痕。原来，子寒虽已离异，但由于孩子的关系，仍与前妻藕断丝连，倩格感到来自子寒前妻的威胁，数次提出要和子寒结婚，但子寒却以一番独身主义的堂皇理由回绝了倩格 　　红杉执意要生下汝平的孩子，但是一时不慎，孩子流产了。身心受到严重创伤的红杉最后走进一家歌舞厅，当起了领舞小姐，在这里客人们将她视作玩物，使她屡遭屈辱，忍无可忍的她一步步走向绝路 倩格与子寒大吵一场后，终于离开了子寒，在电视台主持人夏兰的撮合下，她匆匆与中年丧偶的陈副处长结婚。陈副处长是一个颇有修养而且通情达理的人，在他的帮助下，倩格的个人影展终于成功举办。在影展上，一度是倩格情敌的红杉的遗照占了最显要的位置 本剧通过人物之间错综复杂的感情纠葛及主人公的命运走向，对当今社会的爱情与事业，婚姻与家庭进行深层次思考，呼吁人与人之间的宽容和理解

女大学毕业生周倩格为爱情放弃了去北京发展的机会，与恋人汝平度过一段清贫却温馨的日子。但好景不长，一天晚上酒后的汝平由于情绪一时失控，提前占有了倩格，破坏了两人间的"君子协定"，气愤和失望的倩格连夜出走，在走投无路之际，巧遇了有数面之交的作家子寒。子寒对倩格的遭遇显示出了成熟男人的宽容和理解，使倩格顿生宾至如归之感 年轻气盛的汝平对倩格的出走十分恼怒，他想当然地认为是子寒耍手腕骗走了倩格，便三番五次地向子寒挑衅，并乞求倩格跟他回去。汝平的醋意和过激行为不但没能使倩格回心转意，反而将倩格一步步推向了子寒。在子寒的支持下，酷爱摄影的倩格创办了格格黑白艺术摄影社，生意相当红火 汝平在沮丧之余偶然结识了美丽的上官红杉，初次见面后两人喝得酩酊大醉，汝平糊里糊涂地把红杉带回了家……但红杉不以为忤，反而觉得汝平正是她理想中的爱人。不久，红杉怀孕，当她满怀喜悦将这一消息告诉汝平并提出要和汝平结婚时，却遭到了仍对倩格一往情深的汝平的冷遇。气极的红杉暗中得知了汝平和倩格的旧情，失去理智的她找到倩格的摄影社，对倩格无理取闹，遭到倩格的痛斥。为了报复汝平，红杉连续找了几个她以前的男朋友想与他们结婚，但没想到都遭到婉拒。红杉无法接受这样的现实，开始放浪形骸 与此同时，倩格与子寒之间也出现了裂痕。原来，子寒虽已离异，但由于孩子的关系，仍与前妻藕断丝连，倩格感到来自子寒前妻的威胁，数次提出要和子寒结婚，但子寒却以一番独身主义的堂皇理由回绝了倩格 　　红杉执意要生下汝平的孩子，但是一时不慎，孩子流产了。身心受到严重创伤的红杉最后走进一家歌舞厅，当起了领舞小姐，在这里客人们将她视作玩物，使她屡遭屈辱，忍无可忍的她一步步走向绝路 倩格与子寒大吵一场后，终于离开了子寒，在电视台主持人夏兰的撮合下，她匆匆与中年丧偶的陈副处长结婚。陈副处长是一个颇有修养而且通情达理的人，在他的帮助下，倩格的个人影展终于成功举办。在影展上，一度是倩格情敌的红杉的遗照占了最显要的位置 本剧通过人物之间错综复杂的感情纠葛及主人公的命运走向，对当今社会的爱情与事业，婚姻与家庭进行深层次思考，呼吁人与人之间的宽容和理解