火中蓮花，歷劫重生；美麗女畫家（八千草薰）花樣年華戀上已婚作家，經歷胎兒流產及精神崩潰之苦，欲藻繪嬰兒昇天，將耽愛淨化昇華。畫中一抹鮮紅，是少女學生（加賀麻理子）痴慕老師的唇上硃砂；為她昔日的苦戀妒火中燒，決意獻身勾引作家及其兒子為老師報復。色慾暗藏殺機，後果無可挽回。篠田正浩以新浪潮電影美學外廓，呈現川端日本傳統文學內蘊，將抽象主義藝術的激情，植入古典形式唯美的含蓄；在京都侘寂的孤影裏，美麗終將幻滅，歸於永恆的哀愁。 　　亞太電影節最佳女配角

徐婉莹（应采灵）赶着去相亲却招不到计程车，还好有江云涛（钟镇涛）的帮忙，没想到云涛对婉莹一见钟情，偷偷跟着婉莹进餐厅，甚至主动介绍自己，轻浮的举动让徐母留下不好的印象。徐母认为相亲对象郑方（吴风）为人正直，才是适合婉莹的对象，对徐母言听计从的婉莹也不敢说不。云涛主动邀约，两人也进而交往。婉莹受到爽朗乐观的云涛影响，个性变得更开朗、活泼，对自己人生也更有主见。徐母多年来始终无法释怀，婉莹当船员父亲（关山），当初因外遇抛妻弃子。所以当徐母得知云涛是名船员后，极力反对两人来往。徐母终于愿意与云涛见面，想不到云涛的表妹可青（李烈）却故意搅局。不论云涛如何解释，徐母依然不领情。云涛即将上船准备出海，一年后才会回来。徐母不让婉莹去送行，婉莹只好翻墙出去找云涛，两人在高雄度过一夜，甚至还请牧师证婚。没想到一个月后竟传来云涛船难的噩耗，婉莹偏偏在此时发现自己怀孕。彷徨无助的婉莹，听从徐母的建议，接受郑方的求婚。岂料云涛大难不死，但婉莹却无法辜负郑方的心意，只能拒绝云涛。大喜之日，婉莹止不住泪水，徐母于心不忍，拜托郑方让婉莹离开。最后，婉莹穿着婚纱跑到码头与云涛紧紧相拥，两人誓言再也不分开。

徐婉莹（应采灵）赶着去相亲却招不到计程车，还好有江云涛（钟镇涛）的帮忙，没想到云涛对婉莹一见钟情，偷偷跟着婉莹进餐厅，甚至主动介绍自己，轻浮的举动让徐母留下不好的印象。徐母认为相亲对象郑方（吴风）为人正直，才是适合婉莹的对象，对徐母言听计从的婉莹也不敢说不。云涛主动邀约，两人也进而交往。婉莹受到爽朗乐观的云涛影响，个性变得更开朗、活泼，对自己人生也更有主见。徐母多年来始终无法释怀，婉莹当船员父亲（关山），当初因外遇抛妻弃子。所以当徐母得知云涛是名船员后，极力反对两人来往。徐母终于愿意与云涛见面，想不到云涛的表妹可青（李烈）却故意搅局。不论云涛如何解释，徐母依然不领情。云涛即将上船准备出海，一年后才会回来。徐母不让婉莹去送行，婉莹只好翻墙出去找云涛，两人在高雄度过一夜，甚至还请牧师证婚。没想到一个月后竟传来云涛船难的噩耗，婉莹偏偏在此时发现自己怀孕。彷徨无助的婉莹，听从徐母的建议，接受郑方的求婚。岂料云涛大难不死，但婉莹却无法辜负郑方的心意，只能拒绝云涛。大喜之日，婉莹止不住泪水，徐母于心不忍，拜托郑方让婉莹离开。最后，婉莹穿着婚纱跑到码头与云涛紧紧相拥，两人誓言再也不分开。

高三女生杜莉莉忽然不断重复同样的梦，在一座中国古典庭园里，邂逅一名英俊书生，两人在这奇异的梦境中相遇、相恋，解脱莉莉在现实生活中的压力。然而莉莉却为此梦身心俱疲。母亲带莉莉去算命解厄，好友咪咪则忙着帮她介绍男朋友，但是都无法挽救莉莉日渐恍惚的精神及异常的举止。直到有一天，莉莉见到一幅巨大的广告看板，竟是她梦中书生的画像。惊吓过后，莉莉带着看板的照片去找算命的师姑，急欲解开谜团。然而，杜莉莉却来不及在现实中邂逅梦中书生，便意外坠楼身亡。数年后，咪咪进入唱片公司做事，帮女歌手柳玉梅制作新专辑。柳玉梅恰是数年前杜莉莉见到看板中的人物。而这时候的柳玉梅，正逢爱情、事业双重瓶颈，搬家时却又鬼使神差地搬到杜莉莉生前的房间。从此柳玉梅也不断梦见那幸福的后花园，在梦中的爱情弥补些许现实生活中的遗憾。同时，杜莉莉的魂魄却不甘心生命就这么不明不白的凋零，仍欲体会有血有肉的爱情。终于，柳玉梅因发现自己即将面临爱情、事业两面头落空的局面而自杀，莉莉便趁机附身，两人合而为一。然而莉莉也因此对现实生活中的爱情感到失望，于是主动求去。最后，藉由一场法会，不仅超渡了莉莉，也使玉梅对生命有一番体悟，而开展新生。

影片主题曲《为爱痴狂》曾获1995年第32届金马奖最佳电影歌曲奖。 　　高三学生杜莉莉（张本瑜 饰）功课优异，但与母亲关系不融洽。她不断梦见自己在一座中国古典庭园里，邂逅一名英俊书生，与相遇、相恋。为此梦她身心俱疲，时常昏倒，在上课时不自觉地走出教室外。母亲带她去算命解厄，好友咪咪（天心 饰）帮她介绍男朋友，但都无法挽救莉莉日渐恍惚的精神及异常的举止。直到一天莉莉跷课，发现歌手柳玉梅（刘若英 饰）大型海报，竟是她梦中的书生。她还不及邂逅梦中书生便意外坠楼身亡。 数年后，咪咪进入唱片行做事，帮柳玉梅制作新专辑。这时的柳玉梅，爱情、事业双遇瓶颈，搬家时刚巧搬进杜莉莉生前的房间。从此柳玉梅也不断梦见那幸福的后花园。后柳玉梅不堪失败的现实自杀，莉莉便趁机附身两人合而为一。但莉莉依然对现实生活中的爱情感到失望。最后，藉由一场法会，超渡了杜莉莉，顿悟了柳玉梅。

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.

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.

苏念瑶被继母宋美芬下药后，意外与慕寒川相遇并怀孕，生子后因母亲去世被迫与孩子分开。慕寒川寻到她时，她正与父亲苏志远、私生子苏佳航争夺母亲遗产。两人历经了继母和慕寒川青梅竹马周瑾萱的陷害，最终误会化解，但两人迟迟无法在一起，当苏念瑶双重身份展现在慕寒川面前，慕寒川用真心打动苏念瑶。六年后，两人与儿子慕景泽、女儿慕晓晓幸福生活，一家四口温馨圆满。

「魔女見習い」スピカ・ヴァルゴは魔法が使えない。憧れの魔法学校合格のためには師匠が必要だが、金もコネもない。 　　そんな時、人語を駆使し魔法を使う謎の黒猫がスピカの前に現れた!!魔術を学びたいスピカと呪いを解きたい黒猫の思惑は完全一致。秘密の師弟関係が結ばれた！！呪いを解く鍵は「×××」にキス!?

「魔女見習い」スピカ・ヴァルゴは魔法が使えない。憧れの魔法学校合格のためには師匠が必要だが、金もコネもない。 　　そんな時、人語を駆使し魔法を使う謎の黒猫がスピカの前に現れた!!魔術を学びたいスピカと呪いを解きたい黒猫の思惑は完全一致。秘密の師弟関係が結ばれた！！呪いを解く鍵は「×××」にキス!?