A man shares some lazy memories about his friend, Manek Mulla, who had a knack for telling stories. On this particular afternoon, Manek narrates a 'unique' love affair with the help of different stories, various characters' point of views and the social relevance of these stories. As these stories proceed, reality mixes with fiction. Benegal's restlessness with narrative leads to this fascinating film based on Dharamvir Bharati's Hindi novel. Over three afternoons the raconteur Manek Mulla recounts stories to his friends who then analyse and assess them. The stories are interconnected and overlapping, shifting truths and points of view to break linearity. Benegal offers three fascinating women characters but ultimately the film examines male attitudes to love and romance. Made after a five year break from film-making, this marks a fresh repertory cast and is considered by many to be Benegal's masterpiece. This film narrative takes place over seven days during which time Manek Mulla, a young man barely out of his teens, tells three stories about himself. These stories revolve around Manek's involvement with women. In each case one or another circumstance leads to his separation from his beloved. The tone of the stories is 'tongue in cheek' and sometimes borders on the fantastic and surreal. There is consistency and ambiguity - a blurring of distinction between the real and the invented. For Manek Mulla, the purpose of telling these stories is to define the meaning of love. As it transpires, none of the stories Manek tells actually define Love… If they do, they define what love is not. The film is a comedy but not without a twinge of pain and a sense of loss. The first of Benegal’s films to receive state funding (NFDC), Suraj Ka Satvan Ghoda’s resonance comes from a sophisticated use of narrative subjectivity. Comparable to Kurosawa’s Rashomon in its gradual and shifting points of view, this is a moving examination of the storytelling process and one of the rare occasions that Benegal has explored cinema as a construct. The narrator, Manek (Rajit Kapur), is not only unreliable but his perception of the truth concerning the three beguiling female centred stories he relays to his friends is questioned throughout, culminating in a genuinely cryptic ending that seems to unravel the entire film making process. Though Rashomon may serve as a direct inspiration, the cinema of Kiarostami seems closer if one was to contextualise Benegal’s masterpiece as it poses fundamental questions that concerns film making and cinema – whose truth is being represented, how is it constructed and how should we respond as a spectator? This is what academic Sangetta Datta has to say about the film in her accomplished appreciation: ‘The title is also a clue to the film. The seventh horse of the sun is the youngest; he moves perpetually towards the future, towards light. The title itself signifies the concept of time with the Hindu myth of the sun god riding in his chariot driven by seven white horses. Man will constantly be drawn towards love and imagination; lives will always be lived and stories will always be told.’ * Indian National Award for Best Hindi Film in 1992

主角上川龙也演椚谷评介，是带著警犬ブルカーン出动的特捜课巡查部长，专门进行毒品搜查，讨厌毒品的他和特捜课成员一起合作，成员包括松城実朗（石黑贤）、红竹咲马（平岳大）、鹰柳岳志（平山祐介）、栗风流（渡部豪太）、杜氏梅吉（笹野高史），还有特捜课课长・榊田聡一郎（小林稔侍）。他们面对突然失踪的毒品捜查官伊沢龙司（平山浩行），带著7头警犬进行搜查，到底他消失的原因和什么事件有关连？此外有警察训练员朝水彩栞（原沙知絵），毒品对策班系长干部兵库（小日向文世）演出，阵容豪华。

法援从业者赴第七码头处理房产继承纠纷，意外发现当地信托系统伪造债务诱导老人弃房的黑幕，深挖牵出二十年前长辈含冤旧案，她多方搜集铁证，识破阻挠与卧底算计，联合良知之士捣毁非法体系，为受害住户与长辈讨回公道。

新来官邸的女仆「阿格蕾雅」有着楚楚动人的气质，使得少校「狄米屈」及其年轻随扈「佩里克利」都为之倾心。少校虽然已婚，但暗地里仍想将女仆占为己有；另一方面，随扈对女仆的浓情爱意更驱使着他鲁莽的对她表白。女仆会错意的结果，随扈遭到了被少校的鞭笞的命运。 少校夫人「伊莲娜」对女仆颇多疼惜，在生活上频加关照与指导。然而，威权独霸的少校却对女仆霸王硬上弓，之后更视之如妾，点燃少校夫人与少校间存在已久的感情问题，终于在妥协的下达成和解。 但事实上，少校、随扈与女仆三人间感情纠葛并未解决，几经多番的波折，相互的赤忱与关爱也从未终止。 在一场战事里，少校带领的军队受到重创，节节败退，自己也身受重伤，少校坚信烈士必当战死沙场的信条，却因随扈及时解难而存活下来，却也带着残废身躯回乡。 当男人们都上战场打仗之时，少校夫人与女仆却日渐亲密，也给予她充裕的物质享受，但种种的迹象都显示彼此已然超越主仆之情……。 从前的少校是军令如山，如今却带伤与随扈回来。时过境迁，同样的三人又聚在一起，少校没有了过去的霸气，夫人趁势掌权当家，而女仆则不知所措。 此时再论男女私情，少校该如何能求取解脱？少校夫人又将会如何对待女仆？而女仆与随扈间的感情会有怎样的变化？究竟爱情的牵扯，会如何转化人性，牵引这美丽女仆曲折的未来？

Rodney and Cassandra's marriage is in trouble - Cassy is ambitious and wants to better herself with her banking colleagues, while Rodney is set in his ways and expects her to be an old-fashioned housewife. After a bust-up, Rodney decides to leave and return to the Trotter household. He still yearns for her though, and is unwisely advised that making her jealous might be the key to winning back her affections. He asks another girl to join him on a date to the cinema - could this be a perfect Hollywood ending for Rodney, or could the curtain finally come down on his marriage?

暂无剧情简介

阿桑（罗仲谦 饰）是好友Terrance 家的专属司机；表面上循规蹈矩的他，却拥有不为人知的秘密。他一直心仪Terrance 的妻子Julianne（曾佩瑜 饰）。 　　Bellhop（郑中基 饰）在酒店房间内吃客人的冷饭残羹、穿客人着过的浴袍，躺上客人的床铺，只因他与妻子之间感情的破裂深深的刺激到了他。 　　即将出嫁的新娘（蔡颖恩 饰）却突然逃离婚礼。她想知道谁才是她最爱的人。她听着预言家（林德信 饰）诉说发生在这个公园女厕内，一段被遗忘的情杀故事…… 　　放暴利的包租公（许绍雄 饰）和包租婆，包租公因有外遇，在这公厕内，竟然想杀死包租婆…… 　　四段感情，看似无关，但却环环相扣，原因在于“第七谎言”的存在。遗忘与迷失的角度，日与夜，黑与白，是非颠倒，情感错配。每个撒谎的人都避不开自己的谎言。这个晚上，他们要承受一切后果。

阿桑（罗仲谦 饰）是好友Terrance 家的专属司机；表面上循规蹈矩的他，却拥有不为人知的秘密。他一直心仪Terrance 的妻子Julianne（曾佩瑜 饰）。 　　…

『Seventh Code』讲述的是，高山秋子（前田敦子饰演）对在东京邂逅，共度过一餐的男子松永（鈴木亮平饰演）无法忘怀而前往俄罗斯海参崴。虽然重逢之…

ヤクザ鳥会組の金2億円を横領し、孤児院にいた頃から世話になっている坂上のオバちゃんが働く旅行代理店で見つけた、隠れ場所にはもってこいの“ホテルニューメキシコ"に身を隠した筈のシュンイチロウ。ところが、借金返済を迫る元彼女のカナや、彼女の婚約者のトドヒラ、そしてシュンイチロウから金を取り戻すように組長に言われたソノダまでもがやって来てしまう。こうなったら仕方がない。シュンイチロウは、2億の金を持ってみんなで逃げる相談を持ちかけるが、今度はそこへソノダの裏切りを予見した組の若頭・イソムラが乱入。更に、ホテルの隠し部屋から彼らの様子を覗いていた、覗き癖のオキタとキャプテンバナナまでもが加わり、部屋は大騒ぎの大パニックに。ところが、肝心の金がトランクの中から消えていたのである。とその時、テレビから孤児院"チビッコハウス“に善意の2億円が届けられたというニュースが流れてきた。実は、坂上のおばちゃんがトランクの中身をすり替えていたのだった??。