夏菁飞往巴黎参加好朋友阿冰的婚礼，与阿冰朋友广平认识，二人迅即堕入爱河，发生关系。在床上夏菁告诉广平自己是有夫之妇，但却爱上了广平，二人于是开始共渡一段甜密时光。不久，夏菁不满广平与法籍女子苏菲的关系，但广平矢口否认与苏菲有暖昧之情。广平到处留情的风流性格令夏菁三番四次欲离开他，但每次都因广平的温柔给软化；阿冰看在眼里，约广平单独见面，叫他不要像以前伤害她般伤害夏菁。原来平、冰二人曾相恋，只是阿冰不满广平背着她与其他女人鬼混，故与越南华侨阿胜结婚。夏菁的建筑师丈夫伟明来巴黎陪妻子出席阿冰婚礼，态度嚣张得令早已决定离开他的夏菁毅然走出酒店去找广平，却赫然发觉广平竟与阿冰在床上，她愤怒之极，准备在阿冰举行婚礼之日离开巴黎返回香港。广平苦劝无效，阿冰则向她剖白自己虽然仍爱广平，但却不会再做第三者，她请夏菁出席其婚礼。夏菁在心情极度混乱之时发觉广平竟仍与法籍女子来往，遂在他洗澡之际，抓起生果刀结束了他的生命。

夏菁（郑裕玲 饰）和丈夫结婚多年，彼此之间的感情早已经十分淡漠。为了逃离令她感到窒息的婚姻，夏菁来到了巴黎，去那里参加好友阿冰（夏文汐 饰）的婚礼。在巴黎，夏菁邂逅了名为广平（周润发 饰）的小提琴手，两人之间狂风暴雨般的产生了炙热的感情。对于这段感情，夏菁一直都持着强烈反对的态度，这让夏菁开始怀疑，阿冰是否对广平也有着觊觎之心。 　　夏菁的丈夫追随着妻子的脚步也来到了巴黎，夹在两个男人之间，夏菁不知该做出怎样的选择。最终，夏菁决定跟广平远走高飞，但两人之间的感情其实早就有了裂缝。在嫉妒的折磨之下，失去了理智的夏菁做出了令所有人都追悔莫及的举动。

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......

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......

23岁的德仔与15岁的盈情不自禁犯下天条，被盈的母亲控告强奸未成年少女而惹来一身蚁。德妈为儿子赔钱从命，但盈母反口，两小口子无路可退。徐天祐演平凡男人爱得无助，单亲妈妈惠英红为爱牺牲，力压全场，戏路纵横，最后一镜尽是戏味。

讲述一个年轻女孩坚称有一个怪物正在蚕食她，而一位有预知能力的治疗师必须直面自己内心的困扰，赶在那个女孩被完全怪物吞噬之前拯救她。

讲述一个年轻女孩坚称有一个怪物正在蚕食她，而一位有预知能力的治疗师必须直面自己内心的困扰，赶在那个女孩被完全怪物吞噬之前拯救她。

故事发生在民国初年，一家小酒馆里发生了一起命案，乡绅林子卿的儿子林继尧被发现死在了酒馆老板娘贞娘的床上，而最大的犯罪嫌疑人就是老板曾家驹。负责此案的知事唐崇陶听取了林管家的证词，将曾家驹定罪。然而，曾家驹不服判决，他坚称是林继尧勾引贞娘在先，而当他闯入房中时，林继尧已经死了，而贞娘下落不明。 　　林子卿在暗地里花重金买通了唐崇陶，虽然唐崇陶对案件的真相也持有着怀疑的态度，但最终，曾家驹被执行了死刑，贞娘也因此而自杀。事后，一直受到良心谴责的唐崇陶陷入了自责的情绪之中，而曾家驹和贞娘的鬼魂也出现在他的面前。

故事发生在民国初年，一家小酒馆里发生了一起命案，乡绅林子卿的儿子林继尧被发现死在了酒馆老板娘贞娘的床上，而最大的犯罪嫌疑人就是老板曾家驹。负责此案的知事唐崇陶听取了林管家的证词，将曾家驹定罪。然而，曾家驹不服判决，他坚称是林继尧勾引贞娘在先，而当他闯入房中时，林继尧已经死了，而贞娘下落不明。 　　林子卿在暗地里花重金买通了唐崇陶，虽然唐崇陶对案件的真相也持有着怀疑的态度，但最终，曾家驹被执行了死刑，贞娘也因此而自杀。事后，一直受到良心谴责的唐崇陶陷入了自责的情绪之中，而曾家驹和贞娘的鬼魂也出现在他的面前。

Herr Marcel L'Herbier, an excellent French director of the silent era, made his most important works during the 20's of the last century. These are astounding silent oeuvres in which the modern, fashionable artistic tendencies that were in vogue in those early days are much in evidence. These avant-garde works have remarkable art-decó settings and are highly appreciated nowadays by silent connoisseurs for their modernity and Herr L'Herbier very personal style. 　　"Le Diable Au Coeur" (1928) is, in some ways, a completely different film in comparison with those avant-garde and "modern" films mentioned before; this time Herr L'Herbier forgets those fashionable experimental tendencies for the sake of a most conventional and realistic setting of a little French fishing town. 　　The beautiful maritime background and the little seaside village where the main characters live, condition the life and troubles of our heroine, Frau Ludivine Bucaille ( Betty Balfour ) . She is a madcap girl who leads a gang of boys who play continual childish pranks in the small village. She lives with her father and her two brothers (who are terrors like herself).She will maintain a troubled love relationship with Delphin ( Herr Jaque Catelain ) until, acting on the advice of her father who is looking out for his own interests, she gets engaged to Gaston Lauderin ( Herr Leo Da Costa ) an old satyr and owner of the town tavern. 　　This Herr Von can say also that "Le Diable Au Coeur" tells a conventional love story that from time to time seems monotonous and gives to this German count a feeling of "déjà vu" but thanks to Herr L'Herbier's skillful artistic intentions and the emphasis he gives to village life (very credible atmosphere with a strong regional flavour) and an excellent gallery of supporting characters, the familiar love story floats along on the waters of realism. 　　The beautiful scenery was photographed by an excellent trio, Herr Lucien Bellavoine, Herrr Jean Letort und Herr Louis Le Bertre, who capture the proper maritime background from the beautiful harbour to the decadent tavern. The art direction adds immeasurably to the film's effectiveness. 　　"Le Diable Au Coeur" is a remarkable film, less avant-garde, more humanistic than l'Herbier's other works but just as memorable ( as a curiosity, this film was produced together with UFA and Gaumont-British ). It depicts the greed, ambition and the human miseries of men, primal human feelings that can found in the most avant-garde of settings or in the life of a small town by the sea. 　　And now, if you'll allow me, I must temporarily take my leave because this German Count has other fish to fry.