中国北方某小镇，少女在黑夜的陪伴下回到这里，故事由此展开。一顿不畅快的晚餐，一盒烟的娱乐，没有身份的奇怪男子，热闹喧嚣的麻将馆，失意沉闷的护士，害怕老婆的杀猪匠等，一个小社会里的各色人等被少年的一次次的闯入连接了起来，而这场杀戮是直接了当和毫不犹豫的，包括对自己也是一样的。

热心替好友许兮兮改写烂尾小说的吴琳竟穿越到了文里，并成为文中自己最讨厌的女主角色—东临城城主夫人吴玉琳。与文中女主行为处事相反，吴琳厌倦宅斗争宠，反对为了男人和权力不择手段。一方面她想尽办法回到现实赶稿交差，另一方面身体力行扭转俗套剧情，却阴差阳错地陷入城主胞弟宋轶的篡位阴谋中。最终，她做了一个大胆的决定......

夫妇努力修补关系，却因为妻子的妈妈总是夹在两人中间而不得要领。为了解决问题，丈夫打算给丈母娘介绍男人。

热心替好友许兮兮改写烂尾小说的吴琳竟穿越到了文里，并成为文中自己最讨厌的女主角色—东临城城主夫人吴玉琳。与文中女主行为处事相反，吴琳厌倦宅斗争宠，反对为了男人和权力不择手段。一方面她想尽办法回到现实赶稿交差，另一方面身体力行扭转俗套剧情，却阴差阳错地陷入城主胞弟宋轶的篡位阴谋中。最终，她做了一个大胆的决定......

当有两个男孩在尼泊尔的一个边境小镇上被绑架时，侦探警司普贾从加德满都被派来解决此案。但当她到达后，当地酝酿的政治动荡和暴力抗议让她偏离了调查轨道，她被迫寻求当地马德西女警官玛玛塔的帮助。通过搁置系统性的歧视，并克服日常的性别偏见，她们解决了这起案件——但这对她们个人而言又付出了怎样的代价呢？

当有两个男孩在尼泊尔的一个边境小镇上被绑架时，侦探警司普贾从加德满都被派来解决此案。但当她到达后，当地酝酿的政治动荡和暴力抗议让她偏离了调查轨道，她被迫寻求当地马德西女警官玛玛塔的帮助。通过搁置系统性的歧视，并克服日常的性别偏见，她们解决了这起案件——但这对她们个人而言又付出了怎样的代价呢？

丈夫顾宇将怀孕的情人苏婷带回家，谎称是走失的亲妹妹找到了，妻子林薇逐渐识破其越界关系，将计就计，隐忍布局，拿回房子成功离婚。而顾宇和苏婷却意外生下畸形儿，一家在畸形儿降生后互相伤害。顾宇不顾苏婷和孩子，对林薇展开追妻，为了追回房子还意外得罪了空降老总傅均。苏婷通过此事认清了顾宇，决定和林薇站在一起，惩治渣男，最后顾宇自食恶果，获得了应有的惩罚。

随着科技的发展，人与人之间的交流越来越少，社会也变得冷漠起来，本片通过二十个借喻制作了一部手绘实验影像，希望更多的人能看到，希望人间能充满爱。

富商女强人高岚参加拍卖会时得知儿子一家遭遇严重车祸，儿子高羽川和孙子豆豆均受伤严重，危及生命，急需巨额医疗费，可无论儿媳乔昕怎么乞求，高岚却无动于衷、异常冷漠，丈夫蒋云凡也对高岚的做法表示愤慨，面对众人指责，高岚却不以为意，反唇相讥，直至警察赶到才终于真相大白，原来所谓的车祸是假的，高岚的孙子、儿子、儿媳，甚至丈夫全都是假的，这几个冒牌货绑架囚禁了高岚的儿子，然后取而代之。

In the title of this film we have the diagnosis of a mental illness. The title of George Bernard Shaw's play Heartbreak House is a formula-symbol introduced by the great British wit in order to describe Europe before the First World War. The Russian filmmaker discerned and brilliantly developed Russian Chekhovian roots of the play in his saturated with associations cinematographic composition. This was a feast of Sokurov's imagination and an anthology of almost all of his devises to be subsequently developed. Here one could find a model of a set, closely imitating the real surrounding, documentary shots juxtaposed to the deformed image, a mask of Shaw himself, and non-professional performers next to the celebrated Georgian actor Ramaz Tchkhickvadze. 　　The film had scandalized the powers that be as early as during the process of production which had been several times interrupted and banned by various structures of officialdom — until the film was eventually released in the beginning of Perestroika, in 1987. Perhaps nowadays one of the most important for the director themes — the defenselessness of man, hiding in the house as in a cocoon in the attempt to evade the horrors of history and the problems of existence — sounds more articulately than ever. And the defense — science, technic, culture — civilization — may crash any time and crush 'proud' humankind. 　　The film took part in the competition program of the XXXVII International Cinema Festival in Western Berlin in 1988 and got FIPRESSI award at the XV International Festival in Moscow and Special award in the memory of Andrei Tarkovsky (1987).