劇情大綱：一對情同姐妹的好友嘉儀、白玲，嘉儀奉父母之命與設計師柯振邦訂婚，但嘉儀卻對振邦一點感覺也沒有；在結婚前多嘉儀在情同姐妹的好友白玲全力支持下，離台赴美結識了梁雨成，結婚並育有一女。另一方面留在台灣的白玲在經歷感情受創後決定出國散心順道探望嘉儀，卻在赴美前夕竟意外撿查羅患胃癌。嘉儀接獲訊息後即刻返台，見好友因感情心靈受創而今又患有絕症，決心在好友臨死前完成她追求一份真愛的心願；找不到合適人選的她，只有央求自己的丈夫雨成，雨成在無奈下答應，雨成佯裝是自己的雙胞胎弟弟雨文，在嘉儀的安排及促成下漸漸獲得白玲的好感，另一方面對嘉儀仍舊未忘情的振邦，時常出現在嘉儀左右，不禁讓雨成懷疑兩人舊情復燃，這四個人的感情究竟會如何發展？ 　　『奪情花』人物介紹 　　白玲：（潘儀君　飾）本性善良，個性獨立，愛恨分明，經 　　歷過一段傷心的戀情，對愛情失望，及至梁雨文的出 　　現，重燃對愛的渴望，奈何這段感情卻是好友善意的 　　安排，讓她愛的痛苦，也毀了好友的婚姻和彼此的人 　　生，是個被誤診患絕症的女子。 　　汪嘉儀：（張庭　飾）善良單純，婚姻幸福美滿，卻為感恩 　　當年白玲的幫助，要求自己的丈夫假裝追求患有絕症 　　的好友，完全善意的出發點，不料卻使自己陷入絕境 　　，婚姻破碎，友情決裂。 　　汪嘉美：（梁家榕　飾）嘉儀妹，任職航空公司，為人誠懇 　　熱心，勇於追求愛情，愛慕柯振邦，無奈落花有意， 　　流水無情，最後為情而與姊姊嘉儀及白玲反目成仇。 　　梁雨成：（林煒　飾）自由作家，嘉儀丈夫，為了完成嘉儀 　　幫助好友白玲的心願，無奈答應偽裝成雨成雙胞胎弟 　　弟來追求白玲，但弄假成真，愛上白玲不能自拔。 　　柯振邦（艾偉　飾）：名衛浴用品負責人，成功的企業家， 　　在嘉儀讀大學時即對她展開追求，後嘉儀遠赴美國嫁 　　給雨成，然而對她仍未忘情，為一深情男子。 　　汪　父：（傅雷　飾）傳統保守的父親，對子女管教嚴苛，十分威嚴。 　　汪　母：（陳莎莉　飾）賢妻良母，一生奉獻給家庭。 　　ㄚ　ㄚ：（張君婷　飾）嘉儀和雨成的心甘寶貝，天真可愛。

基里安（金·诺瓦克 Kim Novak 饰）是一名隐藏在普通人类之中的女巫，过着一边隐藏自己身份一边修行的生活。一天，一个名叫霍尔罗伊德（杰克·莱蒙 Jack Lemmon 饰）的男人搬到了基里安家的对门，两人成为了邻居。霍尔罗伊德是一位小有名气的出版商，英俊潇洒又充满了幽默感的他渐渐吸引了基里安的注意。 　　然而，基里安明白，自己是没有办法和霍尔罗伊德在一起的，因为，女巫如果和凡人在一起的话，就会失去所有的魔力。可是，感情这件事情不是理智能够控制的，就在基里安越来越沉迷于情网的同事，霍尔罗伊德也渐渐发现了这位美艳女邻居的真实身份。

三年前，李心媛意外毁容，江北为了让她恢复容貌，历经千万苦寻找到传说中的痴情花，并冒着生命危险以心血滋养，三年之后，李心媛因为痴情花，不仅容貌恢复，还成了万众瞩目的影后，可她却把这一切，都归咎于抛弃过自己的白月光秦野身上，而对江北百般嫌弃厌恶，并主动提出分手，江北彻底心死，决定放弃饲养痴情花，最终，痴情花凋谢，李心媛再次毁容，这时，她这才意识到自己拥有的一切都是因为江北，后悔不迭，找到江北祈求原谅，但此时，江北已经找到归宿，决定开启新的人生！

异装动作喜剧片《铁鸡谍网种情花》，以浓郁的怀旧气氛回顾了泰国电影在60年代的“黄金时期”，也是一部向当时的巨星搭档米特·柴本查（Mitr Chaibancha）和派查瑞·朝娃拉特（Petchara Chaowarat）的致敬之作。 　　话说在当今曼谷，有个看来其貌不扬的中年汉，谁知道他会摇身一变，成为美艳性感、行侠仗义的铁娘子。平日，他是普通得不能再普通的光头便利店收银；只是当总部急call，他就会戴上假发，穿上花裙高跟鞋，为民除害。这一次，“她”要深入大富之家做卧底，缉毒拆家，一边查案一边载歌载舞。岂料她却爱上不该爱的靓仔坏蛋，真是天意弄人。奇情、香艳、惹火、亢奋、易服、歌舞、007再加夺宝奇兵，总之这位泰国女杀手加黑玫瑰一出，惊天地，泣鬼神，打得唱得跳得又做得。泰国，胜在有个铁娘子！

异装动作喜剧片《铁鸡谍网种情花》，以浓郁的怀旧气氛回顾了泰国电影在60年代的“黄金时期”，也是一部向当时的巨星搭档米特·柴本查（Mitr Chaibancha）和派查瑞·朝娃拉特（Petchara Chaowarat）的致敬之作。 　　话说在当今曼谷，有个看来其貌不扬的中年汉，谁知道他会摇身一变，成为美艳性感、行侠仗义的铁娘子。平日，他是普通得不能再普通的光头便利店收银；只是当总部急call，他就会戴上假发，穿上花裙高跟鞋，为民除害。这一次，“她”要深入大富之家做卧底，缉毒拆家，一边查案一边载歌载舞。岂料她却爱上不该爱的靓仔坏蛋，真是天意弄人。奇情、香艳、惹火、亢奋、易服、歌舞、007再加夺宝奇兵，总之这位泰国女杀手加黑玫瑰一出，惊天地，泣鬼神，打得唱得跳得又做得。泰国，胜在有个铁娘子！

在向风光一时的泰国歌舞片致敬之余，更是泰国片强势回归前瞻之作。泰式黑玫瑰对黑玫瑰肯定辣过冬荫功。男扮女装怪鸡歌舞历险片。

聂隐娘自幼师从老尼，老尼见她剑术已成便让她下山辅佐其父聂峰。聂峰本是节度使田季安的属下，此时田季安正欲勾结吐蕃谋反，聂峰不愿跟从。聂隐娘知道父亲德处境时刚巧遇到节度使陈许派来刺探军情的王赞德，两人商量对策。不久，田季安派人将聂峰杀死，聂隐娘心痛不已，她用计谋保护了田季安本想杀死的刘悟，并且和王赞德一起夺得吐蕃拿给田季安的密件，两人将田季安活捉，在其部下面前揭露了他勾结吐蕃的罪行，鼓励大家齐心协力攻击外敌，战争结束后，聂隐娘与王赞德功成身退。

女子高生・初（堀）和哥哥・凌（間宮）以及妹妹・茜和父母住在一起。某日被住在同一间公寓的橘亮辉（清水）抓住了把柄，被亮辉无理的命令来回折腾。在这时，数年前搬走的竹马・小田切梓（板垣）回来了。初被梓一如以往守护着自己的样子自然地吸引，即使被亮辉不断从中阻碍，初还是同梓交往了，但其实梓怀有着不为人知的目的。此时，初也知道了凌的秘密…

Die freudlose Gasse (The Joyless Street), directed Georg Wilhelm Pabst from a script by Willy Haas, based on a novel by Hugo Bettauer, is not only one of the most important films of the Weimar Republic, it is also one of the most spectacular censorship cases of the era. While the film made its director famous, the state institutions of control guaranteed that no one would ever see the film in its original form. The film was considered too much of a provocation. Its story from the inflationary period in Vienna in the years immediately after World War I offered enough dynamite for several muckraking novels: nouveau riches currency and stock market speculators who wallow in Babylonian luxury, homeless and unemployed Lumpenproletariat living in barns, women who sell their souls for a bit of fresh meat at the butcher's, arrogant but impoverished former bureaucrats unaware of their social slide, young social climbers willing to prostitute themselves with high society women, sexual orgies and bordellos, murder out of jealousy, murder out of despair, and, finally, a revolution in the streets. 　　Contemporary film critics, as well as film historians have always recognized The Joyless Street as a seminal film, a film on the border between German Expressionism and Neue Sachlichkeit (new realism). Two quotes from contemporary reviews may illustrate the point: the Berliner Tageblatt wrote: "In terms of its acting, this is a beautiful film with great direction and wonderful actors." In fact, the film starred Asta Nielsen, Werner Kraus, Hertha von Walter, and a young Greta Garbo who would go on to a stellar career in Hollywood. In the Deutsche Allgemeine Zeitung, Otto Friedrich wrote: "He (Pabst) achieves his goal in great style, does not tread on well-worn paths, presents new ideas which are uniquely his own, and with this achievement gives us a new hope. He captures the atmosphere of an idea, keeps redrawing it on the surface in ever more intensive images, in contrasts of action that make an ever stronger impression. He illustrates the down-trodden souls of the era and the manic lust for pleasure of its people who are trying to do nothing more than escape for a few minutes from the terrible truth of the present." 　　Not only was the film cut for political and moral reasons in every country where it was publicly shown, it was also reedited in order to close the huge gaps created by censorship cuts. Thus, in almost every country totally different narratives of The Joyless Street emerged. According to Mark Sorkin, Pabst's editor, he and Pabst had made the first cuts the night before the premiere, because the theatre owner insisted the film be shortened.

While the first version of The Joyless Street still had a length of 3738 meters (only four meters were initially cut by the censorship board on 25 May 1925), the film was back in court on 29 March 1926, because the police had issued a decree calling for a total ban on the film, due to its "lewd" and " seditious" tendencies. Now only 3477 meters remained of the film. None of the later surviving versions ever came close to this length. Neither a German version, nor the original German censorship cards are known to exist. 　　Everyone who has seen the new reconstruction of The Joyless Street agrees that it is a vast improvement over all previously existing versions. Yet it remains only a subjective attempt at a reconstruction. While it is true that the reconstruction team tried to base every one of it decisions on documentary evidence, it must also be admitted that without a surviving original German version, we will never know what the film really looked like. Given the incredible complexity of the narrative, involving at least six different subplots, and the fact that the film is still missing at least 700 meters, this version must be characterized as at attempt at a reconstruction. 　　Jan-Christopher Horak