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Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

朱妍（金惠秀 饰）曾经是红极一时的女明星，凭借着自己美丽的外表和精湛的演技虏获了大批粉丝们的芳心。可是，随着时间的推移，衰老的痕迹不可抗拒的爬上了她的眼角，人气渐渐低迷的她不可自持的开始为自己的未来担心起来。更糟糕的是，朱妍的爱情道路一直都障碍重重，她吃过亏、摔过跤，却至今形单影只，这为她又增加了新的一层焦虑。在好友平九（马东锡 饰）的建议和帮助之下，朱妍自导自演了一场“怀孕”事件，哪知道一石激起千层浪，大批的母婴用品商家找到了朱妍想要请她代言，朱妍的事业迎来了第二春。可是，怀孕始终只是一个谎言，朱妍该怎样才能守住她的“小秘密”呢？

在银座4丁目，旧日本军的特殊部队“透明人特攻队”的幸存者轧死的尸体和遗书一起被发现。从遗书的描写可以看出至少还有一个透明人的幸存者。不久之后，自称“透明人”的帮派集团的强盗事件接连发生。另一方面，在酒馆“黑船”里作为Sandwitchman的小丑工作的南条和住在同一栋公寓的盲人少女玛利亚约好了一起买《金发的珍妮》的八音盒。自从第一次自杀以来，新闻记者小松一直在进行透明人的调查，他注意到了访问被袭击的宝石店的南条。然后进入南条的房间的小松，在那里看到了令人吃惊的光景。南条总是穿着小丑的理由——那是因为他是另一个透明人。南条和小松一起，发誓要查明玷污自己名誉，利用麻里祖父最后杀害的黑帮集团的真面目。但是2人的调查结果表明，暴力事件的幕后黑手在“黑船”中

本片是香港无线电视台TVB把1980年版经典剧集《上海滩》重新剪辑而成，分电影《上海滩》和《上海滩续集》两部作品，分别于1983年1月20日和1月25日在院线上映。1930年代上海，爱国青年许文强（周润发饰）怀抱着一腔热血，却因参予学生运动而被捕下狱。许文强无意 间卷入一场黑帮火拼，结识了在贫民区长大的丁力（吕良伟饰），两人遂结为生死之交，势要在上海滩黑道中闯出名堂。两人机缘际会，加入了叱咤上海滩黑白两道冯敬尧（刘丹饰）的集团，成为黑道中炙手可热的人物。冯敬尧之女冯程程（赵雅芝饰）对许文强一见倾心，但许文强一心事业，不想谈儿女私情。一段上海帮会内的人物情仇和爱情故事由此展开。