故事发生在北朝，战争爆发了，朝廷发出军帖征兵，每户必须派出一名男丁上战场。华世荣年岁已大，虽然有一个儿子，但儿子尚且年幼无法出征，看到父亲如此的苦恼，长女花木兰（陈云裳 饰）决定女扮男装，替父从军。在之后的三年里，花木兰和战友们同吃同住，在隐藏自己女儿身份的同时巾帼不让须眉，立下了屡屡战功，深得战友和将军的信赖，其中，花木兰和一位名叫刘元度的战友关系格外要好，两人之间结下了坚实的友谊。一天，木兰在无意之中识破了敌人的圈套，她和刘元度假扮成兄妹深入敌后，使得己方获得大胜。最终，花木兰一方赢得了胜利，回朝后，花木兰拒绝了皇帝的赏赐，返回家乡，侍奉父亲。
邓寄尘
回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
西皮士
回复 :一个能乐艺人因其粗鲁导致一位老人死亡，从而被父亲赶出家门，成了一个街头乐手。他一直在街上游荡，最终帮助了死去老人的女儿，在这个过程中获得了父亲的原谅。
李元硕
回复 :美容院职员曾小雨（郑裕玲 饰）贪恋演员男友，但无奈后者只把她当做佣人对待，惨遭劈腿的曾小雨伤心落魄，去朋友的聚会上寻找新欢，由此机缘巧合结识了富豪之子利志（钟镇涛 饰）。利志父亲因与人斗法，被对手张山以生命为代价化为青面鬼下降头诅咒利家绝子绝孙，这导致利志不能与女性正常接触，而在结合时则会马上丧命。曾小雨昔日同学沈慈航（万梓良 饰）勘破小雨命中定数，赠送驱邪彩带护身。曾小雨与利志初次接触便遭遇车祸，但在朋友们的撮合下，曾、利二人还是展开了交往，沈慈航出面警告二人，情路艰辛，但曾小雨与利志决定继续交往……
