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FAIZ將劃破黑暗為這個世界帶來光明。發生在不遠的未來、某一個國家的故事…。在那裡，世界的大半都已經被人類的進化型態──「再生使徒」所支配。再生使徒的城市裡，人類的存在是不被允釭滿C躲躲藏藏過日子的人類當中，有個少女名叫園田真理。真理宣揚著FAIZ(乾巧)這位救世主的存在，但是並沒有人願意相信她這個夢幻的故事。智腦公司對１萬人的騎士部隊、下達了殲滅人類命令。「全員變身！」獻給活在這個時代卻失去了光明的所有人們的鉅作。

两兄弟经常跟父亲一起钓鱼。潺潺河水，静静午后，成了父子间最难忘的时刻。父亲是一个老牧师，常常在镇上布道，大儿子诺曼（克莱格?谢佛 Craig Sheffer 饰）正是继承了父亲的事业——他擅长讲课，大学毕业后回到家乡传道授业。小儿子保罗（布拉德?皮特 Brad Pitt 饰）却有着迥异的性格——他热爱自由，有一套奇特的钓鱼方法。然而，令人担心的是他迷上了赌博，并因此欠钱遭打。诺曼结婚后收到一封芝加哥大学的聘用书，他离家前往芝加哥之前，和父亲、弟弟一同在大河边再次享受钓鱼时光。他劝保罗跟他一起离开这里，然而保罗痴迷钓鱼，不愿离去。怎料，这竟是最后的相聚。

香港湾仔，电器行老板娘（鲍起静 饰）丈夫早亡，她和妹妹共同抚养儿子阿来（张学友 饰）。但后者终日沉迷侦探小说，41岁依然单身，还常会跟想象中的亡父对话。在一场相亲宴上，阿来见到了洁具行售货员爱莲（汤唯 饰），起初有点尴尬，后来在茶餐厅，两人谈笑风生。不过，爱莲一直挂念狱中的古惑仔男友阿旭（安志杰 饰），所以对这门亲事只是敷衍。阿来同样接到了前女友（张可颐 饰）的邀请，出任男模，两人似乎重新擦出了火花。虽然阿来和爱莲各怀心事，但两人却在轩尼诗道再度重逢。与此同时，老板娘却因为报税之事跟老相好（李修贤 饰）闹了别扭，而且，一直蒙在鼓里的她还目睹了阿旭与爱莲牵手逛街。经受不住打击的她彻底崩溃、住进了医院。此后，阿来跟前女友，爱莲跟阿旭的感情却发生了变化……

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.