身为女将军的白鹭宁因为受伤被迫辞官，白毅鸿的平妻刘氏趁机将白鹭宁嫁给了一个病痨鬼，将自己的女儿白鹭婷嫁给宁王爷，不想白鹭宁和白鹭婷大婚当日，白鹭宁和白鹭婷上错了花轿嫁错了人

珍妮（Florine McKinney 饰）拥有极高的舞蹈天赋，但命运对她并不友好。尽管她在舞蹈上极具潜力，她的运气却始终不佳，最终她不得不以跳脱衣舞为生。一次在表演中的过激举动，使珍妮被控猥亵罪而被捕。幸运的是，她遇到了一位富有的百万富翁，他对珍妮的舞蹈才华十分欣赏，并决定为她提供保释。这位富翁曾经看过珍妮早期的表演，被她的舞姿深深打动。在富翁的支持下，珍妮得以重获自由，并进入了演艺界，她的事业也随之蒸蒸日上。 　　然而，快乐的时光总是短暂。随着珍妮的成功，她与富翁之间的关系逐渐疏远。富翁感到自己在珍妮的生活中渐渐变得不再重要，为了试图维持这段关系，他甚至决定中断对珍妮演艺事业的资助。就在这时，歌舞团的导演看到珍妮的潜力，伸出了援手。导演不仅帮助珍妮解决了经济上的困境，还利用自己的资源和影响力，将她推上了演艺界的顶峰，使她成为了一个炙手可热的巨星。珍妮在歌舞团的导演帮助下，终于实现了她的演艺梦想。

珍妮（Florine McKinney 饰）拥有极高的舞蹈天赋，但命运对她并不友好。尽管她在舞蹈上极具潜力，她的运气却始终不佳，最终她不得不以跳脱衣舞为生。一次在表演中的过激举动，使珍妮被控猥亵罪而被捕。幸运的是，她遇到了一位富有的百万富翁，他对珍妮的舞蹈才华十分欣赏，并决定为她提供保释。这位富翁曾经看过珍妮早期的表演，被她的舞姿深深打动。在富翁的支持下，珍妮得以重获自由，并进入了演艺界，她的事业也随之蒸蒸日上。 　　然而，快乐的时光总是短暂。随着珍妮的成功，她与富翁之间的关系逐渐疏远。富翁感到自己在珍妮的生活中渐渐变得不再重要，为了试图维持这段关系，他甚至决定中断对珍妮演艺事业的资助。就在这时，歌舞团的导演看到珍妮的潜力，伸出了援手。导演不仅帮助珍妮解决了经济上的困境，还利用自己的资源和影响力，将她推上了演艺界的顶峰，使她成为了一个炙手可热的巨星。珍妮在歌舞团的导演帮助下，终于实现了她的演艺梦想。

影片根据台湾著名女作家李昂的同名小说改编。《暗夜》是一部描写权力、金钱、欲望与道德冲突的小说，导演但汉章将小说搬上了银幕，表现了股票记者、商人、商人之妻三个人间的爱欲纠缠。

The Israeli-Palestinian conflict manifests in its most complicated form over one night, and the encounter between two Israeli soldiers and the two Palestinian residents of the house to which the soldiers escape after their vehicle is attacked.

The Israeli-Palestinian conflict manifests in its most complicated form over one night, and the encounter between two Israeli soldiers and the two Palestinian residents of the house to which the soldiers escape after their vehicle is attacked.

《暗夜》一个恐怖的故事，发生在夜里，血腥、残暴、癫狂只要是能刺激你眼球的东西一样不少。而且全部都是用动画表现出来。 　　Malena 和 Pablo 兄妹俩旅行到阿根廷，发现了一本日记记载了20年前发生的罪案。这一晚一个家庭随着日记的历史重演被谋杀了，这个 Malena 和 Pablo 去查处究竟什么是真实的，什么不是真实的？……

《暗夜》一个恐怖的故事，发生在夜里，血腥、残暴、癫狂只要是能刺激你眼球的东西一样不少。而且全部都是用动画表现出来。 　　Malena 和 Pablo 兄妹俩旅行到阿根廷，发现了一本日记记载了20年前发生的罪案。这一晚一个家庭随着日记的历史重演被谋杀了，这个 Malena 和 Pablo 去查处究竟什么是真实的，什么不是真实的？……

Mixture of documentary and fiction about the dictatorial 1930s. With archive footage of 'kino newsreels', a script that is loosely based on the utopian fantasies of Fritz Lang and about the forbidden passionate love affair between a photographer and his model. The Dark Night takes Oleg Kovalov a little closer to his target: to write a complete history of the twentieth century in the language of film. Not a documentary or chronological history, but a lyrical, subjective and poetic history. In Sergei Eisenstein - An Autobiography, we witnessed the stormy 1920s and the blossoming culture of that era, in Scorpion's Garden we saw the paranoia of the Cold War and the thaw that followed. The Dark Night, just like Concert for a Rat before, is on the subject of the dictatorial 1930s. Kovalov has little faith in the documentary as a means to find truth. He does not think that the truth can be found within existing genres. So his films transgress those genres. Documentary and fiction are just as difficult to distinguish in his work as fictional characters from concrete people in old newsreels and other archive footage. That also goes for The Dark Night. The film combines archive footage from the Third Reich with a script that is loosely based on the fantasies of Fritz Lang: a lyrical thriller with horror elements. As the stylised black & white images have all been shot in reconstructed studio sets, the film has the mood of the 1930s cinema.