大苍女将军沈徽宁战场杀敌，夺得蛮族旗，却不幸身中数箭力竭而亡。濒死之际，菩萨因她保家卫国功德圆满，却前尘未了，赐她灵体回摄政王府，待尸首入城便魂归。回府后，沈徽宁见皇叔宋怀砚与叶婉兮亲密相拥， 心痛万分。曾经宋怀砚对她关怀备至，教她舞剑、为她祈福，还拒赐婚。如今却态度冷漠，因叶婉兮斥责她。

大苍女将军沈徽宁战场杀敌，夺得蛮族旗，却不幸身中数箭力竭而亡。濒死之际，菩萨因她保家卫国功德圆满，却前尘未了，赐她灵体回摄政王府，待尸首入城便魂归。回府后，沈徽宁见皇叔宋怀砚与叶婉兮亲密相拥， 心痛万分。曾经宋怀砚对她关怀备至，教她舞剑、为她祈福，还拒赐婚。如今却态度冷漠，因叶婉兮斥责她。

世子妃柳雨被丈夫谢攻玉屡次为“义妹”谢青青牺牲，心灰意冷决定和离时，眼前却出现诡异弹幕，声称谢攻玉隐忍深爱着她。目睹谢攻玉为保谢青青当众诬陷自己、毁她清誉后，柳雨认清所谓“隐忍之爱”的虚伪，携女悄然离开京城，回到江州故乡。她在江州经营包子铺重获新生，谢攻玉追来恳求原谅，甚至为救她挡刀重伤。但柳雨已彻底清醒——那种需要她不断受伤、永远等待的“深情”，她不再需要。她拒绝复合，在江州立业养女，活出自己的人生。谢攻玉最终黯然离去，余生唯余悔憾

大盛长公主凤霓凰，为助胞弟坐稳帝位，提枪上马，披甲出征，守边十年。然而，就在她大胜犬戎之际，却惊闻女儿受辱，被逼为妾，而这一切皆是她的夫君和胞弟所为。凤霓凰得知真相，悲愤交加，当众休夫，手撕无耻渣男一家。面对一心想要害死自己的昏庸无道的胞弟，凤霓凰不再扶持他，而是决心夺走他珍视的一切，做太子，走凰途，登帝位。

大盛长公主凤霓凰，为助胞弟坐稳帝位，提枪上马，披甲出征，守边十年。然而，就在她大胜犬戎之际，却惊闻女儿受辱，被逼为妾，而这一切皆是她的夫君和胞弟所为。凤霓凰得知真相，悲愤交加，当众休夫，手撕无耻渣男一家。面对一心想要害死自己的昏庸无道的胞弟，凤霓凰不再扶持他，而是决心夺走他珍视的一切，做太子，走凰途，登帝位。

那年桃花灼灼，她与心上人执手相看，许下岁岁年年的诺言。原以为这份情意能抵过世间风雨，却不料世事无常，一场变故横亘在两人之间。当繁花落尽，枝头只剩残红，她终究要与心上人挥泪长诀。此后漫漫人生路，她将过往情愫藏于心底，带着回忆独自前行，在岁月流转中慢慢抚平伤痕，活出了独属于自己的从容与淡然。

季凛城与苏亭晚曾深爱结婚，却因一通误会的通话，误以为苏亭晚另有所爱，嫁给自己只是贪图富贵。前女友叶语携女回国，谎称曾患血癌，季凛城愧疚补偿，对其深信不疑。 叶语屡次陷害苏亭晚，季凛城皆认定是苏亭晚争风吃醋。车祸中，他弃重伤的苏亭晚先救叶语，甚至强令重伤的她为叶语输血，致其失血过多离世。 六岁女儿季岁岁目睹惨状，却遭叶语虐待、季凛城苛待。苏亭晚的哥哥程砚寻来，带岁岁试图讨公道却屡屡受阻。叶语继续作恶，推落知晓真相的季老夫人，还挑拨离间，让季凛城误会加深，甚至要与叶语订婚。 订婚宴上，程砚推着苏醒的季老夫人赶到，揭穿叶语的阴谋。季凛城得知苏亭晚已死且真相大白，悔恨崩溃，而叶语终受惩罚。

Set against the backdrop of an imperial victory in the civil war leading up to the Meiji Restoration, Fallen Blossoms tells the story of the sorrows of women in a geisha house in Kyoto by recounting the relationships of its inhabitants. 　　Alexander Jacoby & Johan Nordström wrote: 　　Ishida’s original and brilliant film tells history as ‘her story’. Against the backdrop of a victory for the imperial forces in the civil war leading up to the Meiji Restoration, Ishida recounts the relationships among the inhabitants of a Kyoto geisha house, producing what has been described by Noël Burch as “one of the most remarkable community portraits ever filmed”. The film is set completely inside the house, with only female characters ever seen on screen. 　　For Burch, “the exclusion from the scene of men, patrons or soldiers, is a meaningful corollary of the exclusion of Japanese women from the history of the country”. Ishida narrates his story using an imaginative cinematic style in which shots are almost never repeated. The narrative, Burch notes, evokes Chekhov, but he judges its “combination of a restricted, unified setting and continual renewal of the imagery” to be unparalleled in conventional narrative cinema.