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这是发生在昭和11年太平洋战争时，因割除爱人性器官逃逸引发震惊日本全国社会的刑事案件改编而成的电影。阿部定14岁时便遭人强暴，而此时医学院学生冈田无微不至的照顾，掳获了她纯真的心，两人编织了一段甜美恋曲，而初尝爱情滋味的阿部定更是深深迷恋上冈田以利刃爱抚她的她的方式。不幸的是，冈田染上当时的不治之症麻疯病，为不拖累阿部定，冈田选择将恋情结束。几年后，阿部定成为一名红牌艺妓，但与冈田这段爱恋却不曾从她心中抹灭。不久，阿部定认识市议员立花，经由他的介绍，进入一家料理店工作，龙藏--一个影响她一生的男人出现在她面前，两颗饥渴的心灵在生命空虚疑惑下，寄托沈沦于无止尽的性爱交欢，藉由肉体的刺激与满足，达到短暂的快慰，最后阿部定毅然决然地将精神与肉体的爱，作个了断，永伴身边……

黑田藩藩主齐隆侯将宠爱的妃子生的女儿滨千代公主假扮男孩，秘密继承储君之位。菩提寺住持慈善和黑锹忍者得知此事，写作秘函送往江户。拜一刀（若山富三郎 饰）受黑田藩所托，追赶主持抢夺秘函。途中拜一刀遭遇黑田藩忍者不知火（安田道代 饰），从其口中察觉事件背后的秘密。秘函抢夺成 功，柳生烈堂（大木实 饰）派出大量刺客截杀，但全部死在拜一刀手下。黑田藩重臣肋天将监斥责齐隆侯用女儿继任储君，意欲杀其谋反。受不知火所托的拜一刀由此卷入这场继嗣风波之中……

根据伊莎贝尔·阿连德的小说《幽灵之家》改编而成。为了心爱的姑娘罗莎，青年埃斯特万（Jeremy Irons饰）离开首都，只身前往荒蛮之地开采金矿。两年后他成功地掘到“第一桶金”，此时却传来爱人罗莎误饮毒酒身亡的噩耗。埃斯特万悲痛万分，心灰意冷之下回老家接手父亲留下的农庄，在埃斯特万井井有条的管理下，农庄日益兴旺发达，他也成为闻名遐迩的农庄主。几年后，埃斯特万邂逅了克拉腊（Meryl Streep饰），克拉腊正是罗莎的小妹妹，她从小便暗恋埃斯特万，此时的克拉腊已出落得亭亭玉立，两人迅速坠入爱河，很快就喜结连理。克拉腊为埃斯特万诞下女儿布兰卡，一家人的生活其乐融融。可是，随着埃斯特万掌握的权力越来越大，他也变得越来越专制和乖戾，他无端怀疑自己的姐姐菲鲁拉（Glenn Close饰）对克拉腊有不轨之意，将其赶出家门；又不满布兰卡（Winona Ryder饰）和农工佩德罗（Antonio Banderas饰）交往，活生生将他俩拆散。夫与妻，父与女的感情开始产生裂痕，整个家庭摇摇欲坠。很快，时局动荡，埃斯特万一家的命运被卷入时代的漩涡中……

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.