改编自作家九月流火小说《双璧》。 　　武则天执政晚期，王朝动荡，危机四伏。朝中关于立太子的斗争愈演愈烈。镇国公府小姐明华裳与兄长明华章逐渐进入当权者的视野，被控鹤监招揽，成为武则天秘密成立的地下特务组织玄枭卫的一员。与此同时，另外三个身份 各异但各怀绝技的少年、少女也来到他们身边。 　　明华章、明华裳和小组成员游走在阴谋与诡计、政变与权斗中，破获一桩桩迷案，经历了武则天末年黑暗而激烈的红妆政治时代。五人逐渐成长，却终因家族、利益不同而渐行渐远，与此同时，明华裳也发现了兄长明华章身上的巨大秘密……

改编自作家九月流火小说《双璧》。 　　武则天执政晚期，王朝动荡，危机四伏。朝中关于立太子的斗争愈演愈烈。镇国公府小姐明华裳与兄长明华章逐渐进入当权者的视野，被控鹤监招揽，成为武则天秘密成立的地下特务组织玄枭卫的一员。与此同时，另外三个身份 各异但各怀绝技的少年、少女也来到他们身边。 　　明华章、明华裳和小组成员游走在阴谋与诡计、政变与权斗中，破获一桩桩迷案，经历了武则天末年黑暗而激烈的红妆政治时代。五人逐渐成长，却终因家族、利益不同而渐行渐远，与此同时，明华裳也发现了兄长明华章身上的巨大秘密……

东汉末年，时局动荡，群雄并起。东汉王朝岌岌可危，黎民百姓饱受折磨。乱世之中，董卓入主洛阳，十八路诸侯于城门之外集结，打着反董贼的口号，实则只是想在这乱世之中攫取一方天地，从群狼之中咬下一方江山。这群人之中，有的人是为了汉室复兴，有的人是以兴汉室之名谋权，有的人行动则完全 是趁时局之乱，踏着累累白骨积攒功勋成就野心。 然而有两名少年，周瑜和孙策却因亲眼目睹了黎民苦楚、看到了江山疮痍，立志于结束乱世，还一个太平世间，他们便是——江东双璧！

东汉末年，时局动荡，群雄并起。东汉王朝岌岌可危，黎民百姓饱受折磨。乱世之中，董卓入主洛阳，十八路诸侯于城门之外集结，打着反董贼的口号，实则只是想在这乱世之中攫取一方天地，从群狼之中咬下一方江山。这群人之中，有的人是为了汉室复兴，有的人是以兴汉室之名谋权，有的人行动则完全 是趁时局之乱，踏着累累白骨积攒功勋成就野心。 然而有两名少年，周瑜和孙策却因亲眼目睹了黎民苦楚、看到了江山疮痍，立志于结束乱世，还一个太平世间，他们便是——江东双璧！

重生归来的祝时运，回到祝青瑶认亲的那一日。前世，她被祝青瑶以“细心能干”骗走管家权，并被诬陷贪墨，最终惨死狱中。今生，她淡然将重任交给祝青瑶，并在寿宴上巧妙应对。当嘉安郡主以“嫂嫂”身份前来，笼络真千金祝青瑶时，祝时运看穿了背后的贪婪与嫉恨，并顺水推舟，将库房钥匙交给了祝青瑶，还特意交代了寿宴的预算。她深知祝青瑶的底细，这一步，无异于“引狼入室”。她已准备好，看这场精心布局的“好戏”，如何上演，夺回属于自己的一切。

太傅嫡女莫云烟，倾心定国侯燕北衡，拒太子妃之位只求与他相守，大婚前夕却被燕北衡当众折辱，苏宛玉登门撒野，她被当街扒衣、游街受辱，莫家沦为京都笑柄，母亲气病。万念俱灰时，太子顾长卿携圣旨而来，执意为她正名，护她周全。昔日错付深情，今朝幡然醒悟，她接过太子的橄榄枝，手撕渣男贱女，讨回所有屈辱。从太傅嫡女到东宫太子妃，再到一代皇后，她以傲骨立身，伴良人左右，看昔日仇人跌落尘埃，终得山河万里，一生相守。

凤初重生回到凤族选伴生兽之日，看透黑蛇贺云朗的权力野心与父亲的捧杀阴谋，放弃渣男选择真心待她的白蛇墨染。面对姐姐凤桅的嫉妒与背叛、魔兽入侵，她揭露真相、夺回封印神力，守护凤族，选定贤能继承人，最终与墨染一同飞升成仙，终得圆满。

Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion. 　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.

Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion. 　　Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.