九歲就進芭蕾學校的歐姍娜，一心想成為芭蕾女伶，同時報答媽媽苦心栽培她跳舞，遠離貧窮的夢想。為了跳出曼妙的舞姿，多年來永無止境的練習、嚴格的體重控制，以及犧牲與同年齡的孩子應有的自由，是芭蕾少女必經的犧牲之路。伴隨著許多挫敗、淚水、孤單，唯有不停自我激勵、要求，才能持續下去…。

九歲就進芭蕾學校的歐姍娜，一心想成為芭蕾女伶，同時報答媽媽苦心栽培她跳舞，遠離貧窮的夢想。為了跳出曼妙的舞姿，多年來永無止境的練習、嚴格的體重控制，以及犧牲與同年齡的孩子應有的自由，是芭蕾少女必經的犧牲之路。伴隨著許多挫敗、淚水、孤單，唯有不停自我激勵、要求，才能持續下去…。

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赵建国和伍克二人是邻居，同在一家建筑公司上班，为了业务二人难免在外有一些应酬和交际，虽然是逢场作戏，但是为了怕妻子知道，每次都是百般掩饰，以致闹出不少笑话。事实上他们俩的妻子——小雯和丽美，多少也知道一点可是也无可奈何，因为始终没有掌握到确实的证据啊！某日，赵建国奉公司之命，至某酒廊与客户谈生意，途中认识了美丽大方的淑女——闵淑媛。原来，闵淑媛就是他所要洽谈的客户，也就是该酒廊的女经理，由于彼此的印象不错，这笔建筑生意很顺利就签了合约。此后赵建国与闵淑媛有了感情，不料，闵淑媛竟然是小雯的学姐，所以当小雯知道自己丈夫与这位学姐有婚外情之后，哀怨离家出走。幸好，赵建国及时醒悟，决心挥剑斩情丝，重新建立幸福的家庭。另一方面，伍克也痛改前非，做个好丈夫。勇于认错，彼此谅解，这才是婚姻幸福之道。

赵建国和伍克二人是邻居，同在一家建筑公司上班，为了业务二人难免在外有一些应酬和交际，虽然是逢场作戏，但是为了怕妻子知道，每次都是百般掩饰，以致闹出不少笑话。事实上他们俩的妻子——小雯和丽美，多少也知道一点可是也无可奈何，因为始终没有掌握到确实的证据啊！某日，赵建国奉公司之命，至某酒廊与客户谈生意，途中认识了美丽大方的淑女——闵淑媛。原来，闵淑媛就是他所要洽谈的客户，也就是该酒廊的女经理，由于彼此的印象不错，这笔建筑生意很顺利就签了合约。此后赵建国与闵淑媛有了感情，不料，闵淑媛竟然是小雯的学姐，所以当小雯知道自己丈夫与这位学姐有婚外情之后，哀怨离家出走。幸好，赵建国及时醒悟，决心挥剑斩情丝，重新建立幸福的家庭。另一方面，伍克也痛改前非，做个好丈夫。勇于认错，彼此谅解，这才是婚姻幸福之道。

这部西班牙情色影片把男人的欲望归结为性 欲，是弗洛伊德理论最赤裸裸的阐释和表现。波尼特在失去女人后，把欲望转移到金钱和事业上，而他要建设的分明是一个高耸入云的阳*&具。而当波尼特因车祸失去性能力的时候，象征他欲望的大楼也随之倒塌了。

这部西班牙情色影片把男人的欲望归结为性 欲，是弗洛伊德理论最赤裸裸的阐释和表现。波尼特在失去女人后，把欲望转移到金钱和事业上，而他要建设的分明是一个高耸入云的阳*&具。而当波尼特因车祸失去性能力的时候，象征他欲望的大楼也随之倒塌了。

Sexual fantasies of athletes come to life as a man reads an issue of FirstHand.

Sexual fantasies of athletes come to life as a man reads an issue of FirstHand.

In his review of Feminine Melancholy in Kinema Junpo, critic Mizumachi Seiji praises Irie's performance as the best of her talkie career. However, he is very critical of the film itself, which he sees as a typical story of a woman in an unhappy marriage. He is not sympathetic toward the heroine's patient suffering and describes the nagging mother-in-law as a "hackneyed theme." Naruse's detailed "documentation" of Hiroko's role in the household is dismissed as a "manneristic obsession," and Mizumachi suggests that the director is hiding behind "the shadow of the materials." Most severely, he criticizes Naruse for "abandoning his authority as an auteur" by resorting to "shinpa-tragedy," which is seen as a capitulation to a form that has "wielded a powerful hold over the imagination of the masses." Although Mizumachi notes that Naruse has probed into "the deepest recess of the female psyche," he doesn't recognize this as the film's achievement, perhaps because he is looking for something else from the director. His review reveals the difficulties Naruse faced in maintaining his "auteur status" while moving with the tides of popular culture. For Mizumachi, the character of Yoko is the most typical Naruse heroine, perhaps because she is dragged down by her delinquent lover; however, in retrospect, it is evident that Hiroko's tenacious survival of adverse circumstances looks forward to Naruse's postwar heroines.