A 24-year-old divorcee, Betty Preisser, a receptionist for a clothing manufacturer, takes some office work home which her boss, widower Jerry Kingsley, a man of 56, drops by to pick up. Professional rather than personal acquaintances, Betty tells Jerry of her loveless marriage to George, a musician. Jerry has a married daughter, Lillian, about her age, and a spinster sister, Evelyn, who is very protective of him. 　　Jerry works up the nerve to invite Betty to dinner. He meets Betty's mother, Mrs. Mueller, and sister Alice, who share the apartment with Betty. Their relationship grows, but she professes to be reluctant to date her employer. Jerry wonders if their age difference is really behind this reluctance. Despite this, a May–December relationship between them develops. 　　Female family members of both of them strongly disapprove. Mrs. Mueller calls him a "dirty old man," while Jerry's sister calls Betty a "fortune hunter" and him a fool, although Lillian's husband Jack offers his congratulations, earning scorn from his wife and causing them to quarrel. A colleague, Walter Lockman, trapped in a long and unhappy marriage, urges Jerry to do whatever it takes to find true happiness. 　　George returns to town and tries to persuade Betty to return to him. In a moment of weakness, they have a romantic tryst. Betty regrets it and explains to Jerry that it meant nothing to her emotionally, but he feels humiliated. His sister observes how depressed Jerry has become when he returns home. At his lowest ebb, he learns that Walter has taken an overdose of pills in a likely suicide attempt. Jerry sees it as a sign to seize the joy in life while he still can. He returns to Betty's waiting arms.

A 24-year-old divorcee, Betty Preisser, a receptionist for a clothing manufacturer, takes some office work home which her boss, widower Jerry Kingsley, a man of 56, drops by to pick up. Professional rather than personal acquaintances, Betty tells Jerry of her loveless marriage to George, a musician. Jerry has a married daughter, Lillian, about her age, and a spinster sister, Evelyn, who is very protective of him. 　　Jerry works up the nerve to invite Betty to dinner. He meets Betty's mother, Mrs. Mueller, and sister Alice, who share the apartment with Betty. Their relationship grows, but she professes to be reluctant to date her employer. Jerry wonders if their age difference is really behind this reluctance. Despite this, a May–December relationship between them develops. 　　Female family members of both of them strongly disapprove. Mrs. Mueller calls him a "dirty old man," while Jerry's sister calls Betty a "fortune hunter" and him a fool, although Lillian's husband Jack offers his congratulations, earning scorn from his wife and causing them to quarrel. A colleague, Walter Lockman, trapped in a long and unhappy marriage, urges Jerry to do whatever it takes to find true happiness. 　　George returns to town and tries to persuade Betty to return to him. In a moment of weakness, they have a romantic tryst. Betty regrets it and explains to Jerry that it meant nothing to her emotionally, but he feels humiliated. His sister observes how depressed Jerry has become when he returns home. At his lowest ebb, he learns that Walter has taken an overdose of pills in a likely suicide attempt. Jerry sees it as a sign to seize the joy in life while he still can. He returns to Betty's waiting arms.

中国军队一个重机枪连在淞沪战场撤退途中遭遇日军空袭死伤大半，连长嘱托班长占彪率一个班的留守看护所有重机枪。占彪等人遂将全连重机枪及弹药藏在山壁之洞。共产党员袁丹云主动接触这支队伍受到占彪的欢迎，并被聘为指导员。从此占彪九名血气方刚的汉子，在共产党员袁丹云的帮助下，组建了敌后重机枪抗日班，在敌后刮起一股神秘的重机枪神风。占彪带领部下配合新四军彭雪飞的部队和当地红色抗日游击队，在江南水乡山麓、城市农村，用手中的重机枪与日军火热鏖战。他们救助老百姓、拔炮楼、炸铁桥、打击日军特种部队、护送新四军首长。他们不惧艰险流血牺牲，从山上打到山下，从陆地打到水路，从打坦克到打飞机。他们创造了重情重义重信的重机枪精神。在中国共产党团结抗日精神的感召下和袁丹云、彭雪飞的帮助下，占彪率队毅然走向了革命的道路。

中国军队一个重机枪连在淞沪战场撤退途中遭遇日军空袭死伤大半，连长嘱托班长占彪率一个班的留守看护所有重机枪。占彪等人遂将全连重机枪及弹药藏在山壁之洞。共产党员袁丹云主动接触这支队伍受到占彪的欢迎，并被聘为指导员。从此占彪九名血气方刚的汉子，在共产党员袁丹云的帮助下，组建了敌后重机枪抗日班，在敌后刮起一股神秘的重机枪神风。占彪带领部下配合新四军彭雪飞的部队和当地红色抗日游击队，在江南水乡山麓、城市农村，用手中的重机枪与日军火热鏖战。他们救助老百姓、拔炮楼、炸铁桥、打击日军特种部队、护送新四军首长。他们不惧艰险流血牺牲，从山上打到山下，从陆地打到水路，从打坦克到打飞机。他们创造了重情重义重信的重机枪精神。在中国共产党团结抗日精神的感召下和袁丹云、彭雪飞的帮助下，占彪率队毅然走向了革命的道路。

影片改编自他多年前经历的真实事件。特拉沃尔塔在片中饰演一名狂热粉丝，他对偶像(戴文·萨瓦饰)的迷恋几乎摧毁了对方的生活。

在《狂热》这部影片里，平民社会的描写代替了对心理和社交生活的描写。影片叙述马赛一家小旅店的女主人，在上陆投宿的水手们中间发现了自己从前的情人；一场争吵由此爆发，结果造成凶杀。这部影片在展示人物及剧情上可说是一种新的风格的范例，这种风格并不是一种专门注重华美形式的毫无意义的风格，而是一种既具体而又直接、真实、符合于内容、并由内容来决定的风格。德吕克所以属于法国电影的伟大自然主义传统，就是因为他具有这种风格，而不是由于他所选择的剧情环境。他的这种倾向，从他始终想在画面里把人物同背景和剧情结合起来一点上，也可以看出。在《狂热》这部影片里，德吕克虽然没有采用卢米埃尔的摄影方法，但却发明了一种使远景与近景同样清楚的方法，这种方法有人常认为是奥逊·威尔斯、格里格·托朗或威廉·惠勒所发明，实际却应该归功于德吕克。 　　影片《狂热》赋予各种人物以恰如其分的性格，使海港景色具有丰富的诗意，并且还利用了追叙的笔法。德吕克的这种表现方法有一部分是从英斯学来的，但他把英斯的经验融会改进，使其达到更完美的地步。另一方面，格里菲斯的影片《被摧残的花朵》给予德吕克的影响却没有产生良好的效果，那些泥塑的佛像、银白色的玫瑰花，以及那个化妆得很坏的东方妇女，使这部影片第二部分的优美感大为减色。 　　《狂热》一片摄制费用虽然很少，却是一部成功的作品。可是它的作者以后却未能实践他的诺言。他和穆西纳克曾创办了一个独立而富于斗争性的影评期刊，名叫《电影杂志》，后因资金困难不得不停止出版。他在拍摄了最后一部作品《洪水》以后，就溘然长逝，享年才32岁。他留给后世很多有关影评方面的著作，但在电影作品方面，可以说他还没有完成序言，就告死去，这对电影界来说，实是一莫大的损失。

在《狂热》这部影片里，平民社会的描写代替了对心理和社交生活的描写。影片叙述马赛一家小旅店的女主人，在上陆投宿的水手们中间发现了自己从前的情人；一场争吵由此爆发，结果造成凶杀。这部影片在展示人物及剧情上可说是一种新的风格的范例，这种风格并不是一种专门注重华美形式的毫无意义的风格，而是一种既具体而又直接、真实、符合于内容、并由内容来决定的风格。德吕克所以属于法国电影的伟大自然主义传统，就是因为他具有这种风格，而不是由于他所选择的剧情环境。他的这种倾向，从他始终想在画面里把人物同背景和剧情结合起来一点上，也可以看出。在《狂热》这部影片里，德吕克虽然没有采用卢米埃尔的摄影方法，但却发明了一种使远景与近景同样清楚的方法，这种方法有人常认为是奥逊·威尔斯、格里格·托朗或威廉·惠勒所发明，实际却应该归功于德吕克。 　　影片《狂热》赋予各种人物以恰如其分的性格，使海港景色具有丰富的诗意，并且还利用了追叙的笔法。德吕克的这种表现方法有一部分是从英斯学来的，但他把英斯的经验融会改进，使其达到更完美的地步。另一方面，格里菲斯的影片《被摧残的花朵》给予德吕克的影响却没有产生良好的效果，那些泥塑的佛像、银白色的玫瑰花，以及那个化妆得很坏的东方妇女，使这部影片第二部分的优美感大为减色。 　　《狂热》一片摄制费用虽然很少，却是一部成功的作品。可是它的作者以后却未能实践他的诺言。他和穆西纳克曾创办了一个独立而富于斗争性的影评期刊，名叫《电影杂志》，后因资金困难不得不停止出版。他在拍摄了最后一部作品《洪水》以后，就溘然长逝，享年才32岁。他留给后世很多有关影评方面的著作，但在电影作品方面，可以说他还没有完成序言，就告死去，这对电影界来说，实是一莫大的损失。

影片改编自他多年前经历的真实事件。特拉沃尔塔在片中饰演一名狂热粉丝，他对偶像(戴文·萨瓦饰)的迷恋几乎摧毁了对方的生活。

For many critics and fans of Muratova's work, PASSIONS is considered her most unusual film, the one which, at least on the surface, seems to have the least to do with her considerable body of work; paradoxically, it was one of her most popular films in Russia, even winning the Nika (Russia's Oscar equivalent) for the Best Film of 1994. Circus performer Violetta is introduced to Sasha, a jockey who has been hospitalized after a bad fall. She's attracted to him, and even more to his circle of friends, becoming fascinated with their devotion to horses and the lore of horseracing. She decides to go visit her new friends on a stud farm in Central Asia, ostensibly for the purpose of finding a partner for a new horse act she hopes to bring to the circus, but perhaps more honestly just to learn more about them and their world. Laced with a slightly surreal quality, PASSIONS is an effective and perceptive portrait of a kind of subculture, a world that seems to co-exist alongside everyday reality and to blend with it on occasion. Muratova has spoken about how much she enjoyed the chance to work extensively with animals - seemingly one of her own great passions - in the film.

For many critics and fans of Muratova's work, PASSIONS is considered her most unusual film, the one which, at least on the surface, seems to have the least to do with her considerable body of work; paradoxically, it was one of her most popular films in Russia, even winning the Nika (Russia's Oscar equivalent) for the Best Film of 1994. Circus performer Violetta is introduced to Sasha, a jockey who has been hospitalized after a bad fall. She's attracted to him, and even more to his circle of friends, becoming fascinated with their devotion to horses and the lore of horseracing. She decides to go visit her new friends on a stud farm in Central Asia, ostensibly for the purpose of finding a partner for a new horse act she hopes to bring to the circus, but perhaps more honestly just to learn more about them and their world. Laced with a slightly surreal quality, PASSIONS is an effective and perceptive portrait of a kind of subculture, a world that seems to co-exist alongside everyday reality and to blend with it on occasion. Muratova has spoken about how much she enjoyed the chance to work extensively with animals - seemingly one of her own great passions - in the film.