阿宁和阿塔（安妮·彤帕拉松 Anne Thongprasom 饰）是情同手足的孪生姐妹，虽然她们的个性大相径庭——阿宁聪慧自信，而阿塔则内敛温和，但姐妹两人之间的感情非常的要好。在曼谷，阿塔邂逅了名叫博派的男子，英俊潇洒的博派很快就吸引了阿塔的注意，让这个涉世未深的女孩一下子就坠入了情网之中。 博派已经结婚了，还有着3个孩子，可即便如此，阿塔还是义无反顾的献身于他，当阿塔腹中怀上了博派的孩子，并且得知博派根本就没有离婚打算后，绝望的阿塔选择了自杀。得知了妹妹的死讯，阿宁十分的愤怒，凭借着和妹妹一样的容貌，阿宁决定假扮成阿塔，对伤害她的人进行报复。

阿宁和阿塔（安妮·彤帕拉松 Anne Thongprasom 饰）是情同手足的孪生姐妹，虽然她们的个性大相径庭——阿宁聪慧自信，而阿塔则内敛温和，但姐妹两人之间的感情非常的要好。在曼谷，阿塔邂逅了名叫博派的男子，英俊潇洒的博派很快就吸引了阿塔的注意，让这个涉世未深的女孩一下子就坠入了情网之中。　　博派已经结婚了，还有着3个孩子，可即便如此，阿塔还是义无反顾的献身于他，当阿塔腹中怀上了博派的孩子，并且得知博派根本就没有离婚打算后，绝望的阿塔选择了自杀。得知了妹妹的死讯，阿宁十分的愤怒，凭借着和妹妹一样的容貌，阿宁决定假扮成阿塔，对伤害她的人进行报复。

海达（珍妮·提恩坡苏皖 Janie Tienphosuwan 饰）和燕玲（珍妮·提恩坡苏皖 Janie Tienphosuwan 饰）是样貌一模一样的双胞胎姐妹，但她们的个性却大相径庭，海达涉世未深天真单纯，而燕玲则是成熟独立又坚强的都市女性。 海达的同事缇维（Ken Phoupom 饰）深深爱慕着海达，可是海达却偏偏爱上了缇维的舅舅捷那坡。虽然捷那坡已经有了妻儿，但他还是花言巧语的哄骗着海达和他走到了一起，最终，两人的恋情曝光了，海达遭到了众人的羞辱，而捷那坡也信誓旦旦的回到了妻子的身边，知道此时，海达才意识到，自己完完全全的被玩弄了。羞愤交加之中，海达决定自杀，而得知了妹妹的死讯，燕玲决定假扮成妹妹替她报仇。

两年后，Veekit和Moonin步入了婚姻殿堂，然而他们的生活并不顺遂。一个十几岁的女孩Ruethai给他们的婚姻制造了麻烦，与此同时，Nok回来报仇了。

Nin和Taa (Ann) 是壹對截然不同胞胎,Nin成功而又自信;Taa保守,溫和.當Taa得知Nin要離開美國回泰國時,她決定到曼谷去生活.在曼谷,Taa遇到了Weekit (Ken) 和Weekit的舅舅Pope(Dodo).雖然Weekit是個很不錯,但Taa卻愛上迷人且性格溫和的Pope,但Pope卻早已結婚,並且有3個孩子......最後Taa懷上了Pope的孩子,但她發現Pope從沒打算離婚,于是上吊自殺.當天晚上Nin（Anne）回來,悲傷和贲努讓她決定假扮成Taa對傷害Taa的人展開報複…… 这个可是Ken和Anne的首次合作啊，与《爱的涟漪》和《临时天堂》不同，全剧弥漫着淡淡的忧愁，很值得一看哦！ KEN在里面的发型好飒火，是三七分呢～

丽兹和班尼都出生在一个有色人种的家庭。在一次文学聚会上，丽兹遇到了年轻英俊的白人知识青年托尼，带着一种轻浮的热情，涉世未深的丽兹弃原来的追求者不顾，投入了托尼的怀抱，并与托尼发生了性关系。但是，当托尼发现丽兹并非白人，尤其当他看见丽兹黑皮肤、厚嘴唇的大哥，厌恶之感顿生。丽 兹痛苦了一段时间，终于，一个黑人青年的追求把她从深渊中拉了出来。丽兹的二哥班尼生性叛逆，总是与三两个朋友一起浪迹街头，虽然自己不是白的，但他有时也厌恶黑人的粗俗，对种族之间的问题，他似乎只是在街边边走边看，超脱，但不可避免的颓废。

《影子》是50年代-60年代初波兰电影学院派的代表作，与Andrzej Munk的《倒霉》《铁轨上的男人》等片齐名。是卡瓦莱罗维奇最好的作品之一。获嘎纳金棕榈和英国学院奖最佳影片提名。 The first screenplay, based on one of his own stories, by noted writer Alexander Scibor-Rylski, SHADOW is a Rashomon-like investigation into the life of a man found dead after having been hurled from a train. As security agents, policemen and a medical examiner begin to piece together his identity, three accounts emerge: one set during the war, one in the immediate aftermath, and one in then contemporary Poland. In each, the murdered victim seems to have been a mysterious, ambiguous presence, of shifting loyalties and suspicious connections, who invariably set himself against the ruling powers of the time. Critics at the time attacked the film for its depiction of a world rife with secret agents and hidden enemies - a favorite Stalinist theme - yet the film seems rather to insist on how heroism or villany are so often matters of point of view and timing. Polish filmmaker Jerzy Kawalerowicz was once considered one of his country's most talented post-WW II directors, noted for his powerful, detail-oriented imagery. Kawalerowicz was versatile and his subjects ranged from historical dramas to intense psychological studies. He made his directorial debut in 1951 after working as an assistant director. In 1955 Kawalerowicz was appointed head of the prestigious KADR production unit. He held the position again in 1972. In 1983, Kawalerowicz alienated himself from many of his peers by signing communist government-generated reports condemning all filmmakers aligned with the Solidarity Movement and promoting the destruction of production units run by long time associates Wajda and Zanussi. Born in Gwozdziec, Poland (now Gvozdets, Ukraine), Jerzy Kawalerowicz was noted for his powerful, detail-oriented imagery and the depth of ideas in his films. After working as an assistant director, he made his directorial debut with the 1951 film The Village Mill (Gromada). He was a leading figure in the Polish Film School, and his films Shadow (Cien, 1956) and Night Train (Pociag, 1959) constitute some of that movement's best work. Other noted works by Kawalerowicz include Mother Joan of the Angels (Matka Joanna od aniolów, 1961) and a 1966 adaptation of Boleslaw Prus' historical novel, Pharaoh, which was nominated for the Academy Award for Best Foreign Language Film.

《影子》延续了阿彼察邦一直以来对于感知以及记忆的兴趣。影片描绘的场景中，主角跟随观众一起被困在一个房间里。他们找不到逃脱的路，只能互相渗透着彼此的梦境。追索着他近来的电影作品《幻梦墓园》（2015）和第一件表演作品《Fever Room》（2015-2016）的脉络，此件作品同样反映着泰国动荡的国家局势，并向我们描绘出一幅惨淡的未来图景：人们需要不断地回避现实。观众游走在见与不见、事实与虚幻、空间与虚空的交错重叠之中。 此件作品曾在日本崎玉三年展（2016）以及自同年开始的全球巡回个展“狂中之静”中展出。

《影子》是埃德加·赖特首次执导的动画片，该片计划于2019年上映！