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.

“演员不是在模仿谁的生活，而是真实生活的一种写照”在大街上和人体模型做演技练习的同时有了做演员的梦想，英在这部电影中的演一个配角在与主演的桀骜不羁的劣根性对抗的同时学习演技的英的弟弟根的女朋陈通过修改剧本而得到导演的认可，得到演配角的机会。英的演技压倒了主演并且在电影上映后成为一颗新升起的热线演员，在电影界备受瞩目，在广告界也一跃成为新的蓝筹股。但是在配角期间一直和他一起的经纪人在没有经过他同意的情况下独自决定了合同延长的要求事项让英很不满，所以英和那个恶棍经纪人诀别后选择了新的经纪人，他的弟弟根。在现在的位置上有着最高人气的英，渐渐忘记了自己本来的面貌。对经纪人弟弟根发火，推迟摄影时间，甚至代替喊“cut”。在只有演艺人的聚会上和一些小混混交朋友，还利用自己现在的身份和一些女人见面。这样的做法也给自己和自己周围的人带来了威胁...

家洛是黑社会份子，龙是将赴加留学的无案底青年，因一次偶然的机会不打不相识。二人因巧遇歹徒与警方驳火被卷入漩涡，被警方追捕，又因误杀警员，更弄致水洗不清，遂躲避家洛女友阿安家中，龙致电家中警方以电话追踪，家洛亦遭黑社会出卖，两人受黑社会人物及警方两面夹攻，后家洛在准备乘搭离境的渔船中受枪伤，龙亦被捕，幸得龙父诱使警司说为公报私仇真相，证据确凿，龙终得还清白，遵照家洛遗言与阿安飞赴加国。

昭和27年，伊豆天城月琴岛，大家族女子大道寺智子（中井貴恵 饰）遵照母亲琴绘（萩尾みどり 饰）遗愿，随养父银造（仲代達矢 饰）前往东京生活，并与三个前来求婚的男子见面。然而银造很快收到恐吓信件，声称带智子前往东京将引发流血事件。不久，求婚者之一的游佐（石田信之 饰）便离奇惨死钟楼。血案并未就此停止，受害者不断增加。金田一耕助（石坂浩二 饰）受邀前来调查此案，经过周折往复的调查与推理，逐渐揭开这个家族隐藏了19年之久的秘密……本片根据推理小说家横沟正史的同名作品改编。