在一个华丽宽广的大庄园内，夜幕降临，庄园房间灯火辉煌。长长的走廊之上，汤姆和杰瑞这对冤家又展开新一轮的追逐战。几番交手，汤姆都没有占到任何便宜。对于这只在贵族家庭里饱受熏陶的贵族猫来说，是可忍孰不可忍，他掏出名刺，宣称要和杰瑞进行一场男人间的决斗。杰瑞毫不退缩，也掏出自己的名刺，两个小家伙就此约好了决斗的日子。镜头一转，在一个萧索荒凉的野外，猫和老鼠各自披着黑色披风面对面站立，他们拿出手枪、击剑、弓箭、大炮、弹弓等各种凶器，展开了一连串的对决。 　　谁知两个小家伙谁也无法打败对方，决斗的结果难以预测……

Set in 19th century Imperial Russia, the story revolves around a retired army veteran who makes a good living by settling duels for aristocrats, a common practice of the era.

好色莫过美人剑，富贵王侯黄金殿。 闪电不及方可贵，燕子无双名满天。 　　名震江湖的武林四杰，忽然之间三个落败，只剩神剑燕无双亦销声匿迹。这一切只缘一个神秘青年刀客路独行的出现，路一心要找燕决斗，闻听路可能会在阴阳堡出现，随即去寻，见阴阳堡乃邪教顺之将她铲除，而后又结识了冒充燕的独孤飞，二人结伴来到十八连环堡来找燕之未婚妻元凤，打听燕的的踪迹，此时冷剑生正欲造反，关键时刻独孤飞出手解救了十八连环堡，原来独孤飞就是燕无双，路与独相约决斗，路讲出了一段为人皆知的刀神与剑神决战的一幕，就在路出手拔刀要杀燕的最后一幕，路放弃了决斗，体会到了一个真正刀客的价值。

加布里埃尔-德拉莫尔（希亚-拉博夫饰）终于完成了在阿富汗战争的服役返回他梦寐以求的家乡。然而，迎接他的却不是久未见面的亲爱的妻子纳塔莉（凯特…

住在喧嚣都市公寓内的高菲，精心将楼顶打造成属于自己的世外桃源，这里绿草茵茵，寂静闲适，是休闲放松的绝好场所。在一个阳光明媚的日子里，高菲（Pinto Colvig 配音）来到顶楼晒太阳，美中不足的是这里只有一棵树，无法搭起休闲所用的秋千。于是他不嫌麻烦，径自开车前往附近的林区，挖了一棵树回家。令他始料未及的是，一头在树枝上乘凉的狮子也被他阴差阳错带了回来。于是乎，这两个家伙为了树的所有权你来我往，大打出手，争斗更是连番升级，最终的结局难以预料……

讲述了因遇到克隆人而被卷入令人震惊的事件中的刑警和为了生存而不得已互相展开对决的克隆人之间发生的故事，实力派演员郑在咏、金廷恩以及新人演员梁世宗确定出演。郑在咏在剧中饰演为了守护珍贵的东西而做出错误选择的老练刑警张得天，金廷恩饰演对成功野心勃勃的检察官崔朝惠，梁世宗则同时饰演失去记忆的嫌疑人“成俊”和给成俊扣上了莫须有罪名的克隆人“成勋”，令观众对这一追击惊悚题材期待不已。

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

Rivette is relatively precise in his dealings with meaning. He is the most atavistically ceremonious of the Vague, in the sense that his abstraction as a journey leading inwards is always attended by signs and codas that affirm our passage. The transcendent rite of passage, in more ways than one, is about the symbolic enactment that paves the way. The transcendence itself is left to our sphere of experience, but we're at least brought to the doorstep. 　　Oh, there's the improvisational flow that seems to throw people off, that things seem to be randomly bubbling up from nothing without significant plan or substance. The chance encounters in a world that we may recognize, the geography vaguely familiar whose nature is yet ultimately insoluble. There's a lot of that here. As in Celine, it is the breathing space that conducts our preparation to step beyond the mechanisms of reason. We don't reason with it, rather trust its intuitive flow. Like the dream world, it is only the figment of the known world spontaneously arisen as a stage or blank slate for the atavistic portents and divinations of the subconscious mind to be writ. 　　But the rite of passage matters, in spite of the seemingly aimless wandering. Here it is about human effort to bypass the 'wall of paradise' constituted by the coincidence of apparent opposites (good and evil, light and dark, being and non-being). A barrier that obscures vision and traps in a world of names and forms that is only an apparent reality. 　　Rendered in the film as twin goddesses of sun and moon, vying for a precious stone that enables their descend into the human world. The human characters are mere pawns to their schemes; to be seduced, tricked, threatened, or ultimately destroyed. Twin femme fatales, weaving spells in an inverse noir universe magnified into a macrocosmic struggle. 　　The ill-prepared man who chances to steal a glimpse of them in their true form, like in the myth of Actaion who steals upon the Greek goddess Artemis bathing naked in a pool, has his consciousness shattered by the revelation. His mirrored image (the soul, the reflected half) is cracked. 　　The woman who finally shatters the illusionary duality that quarantines human consciousness into meaningless dilemmas, does so by a sacrifice of blood. 　　And this is the problem of the film. So much of it is a stridently symbolic enactment, a matter of ceremony. The sacrifice is, quite literally, a matter of spilling blood upon the symbolic stone and does not flow from anything - it is simply the schematic end of the spiritual myth. Although valuable as insight, the meaning of the film is trapped inside the rituals performed to signify it. Having cracked the outer shell to absorb it, the film seizes to resonate.

在某户武士家庭，腿脚不便的庄司佐之助（仲代达矢 饰）白发苍苍。当年哥哥成为家族的当家者，而佐之助变成了尴尬的寄食者，头靠在哥哥门下度过了大半生的…