德国首都柏林，影视一起失败的军火交易使朝韩各方势力的对抗趋近白热化。朝鲜大使李学秀（李庆荣 饰）及间谍表宗盛（河正宇 饰）发现来自祖国的另一名冷血间谍董明秀（柳承范 饰）现身柏林，影视政权更迭让多年漂泊海外的他们心中充满不祥预感。在此期间，宗盛不得不遵照党的指示监视妻子——大使贴身翻译莲贞熙（全智贤 饰）的行踪。另一方面，在追查军火交易行动中遭受挫折的韩国情报机构负责人姜部长（韩石圭 饰）不甘失败，持续追查宗盛的踪迹。在大使叛逃计划失败后，宗盛得知董明秀来到柏林的真正目的。为了避免成为权力斗争的牺牲品和肃清对象，他只得带着妻子绝路逃亡……
林宜融
回复 :十次的圣诞节……为她的今天……“一年后能重逢吗？”电影导演“贤成”结束一部电影的拍摄后，在写新的剧本时突然决定去“右道”。原来10年前他和相爱的女子曾经一起到“右道”旅游，两个人相约十年后，也就是2004年9月5日，在他们曾经住过的“右道”的一个汽车旅馆见面。“贤成”找到了那个有着难忘回忆的汽车旅馆……迎接“贤成”的是开朗、活泼的“素妍”，和叔叔一起经营这家汽车旅馆。“贤成”看着右道的大海，做好了迎接十年前的“她”的心理准备……9月5日是风雨交加的日子，一台钢琴被送到了住在汽车旅馆店的“贤成”那里，这架钢琴成为贤成的希望和不安。十年前和初恋情人的约定到底能不能实现呢？
回复 :本片改编自法国著名放荡主义小说，曾经被多次改编成不同版本的电影、影集、舞台剧。三十年代，在日军枪炮下的上海上流社会依旧每天在纸醉金迷的狂欢中迷失。谢易梵（张东健 饰）是风月场上有名的花花公子，莫婕妤（张柏芝 饰）是风情万种却深藏城府的豪门遗孀，两人有着不可分割的亲密关 系。莫怂恿谢去勾引抛弃自己的富商即将迎娶的少女贝贝。而谢则觉得不够挑战，对出身名门的纯情寡妇杜芬玉（章子怡 饰）产生了兴趣。当即谢、莫两人展开了以杜为诱饵的赌局游戏，赌的内容是谢得到杜的身体，而奖品则是谢梦寐以求的莫的身体。对于谢的追求，杜从开始的抵抗到后来越陷越深，而谢也发现自己爱上了猎物，这一切令莫怒火中烧。当所有的道德、禁忌完全被打破，这些游戏的男女纷纷陷入欲望的河流，种下了悲剧的结果......
回复 :It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.
