大汗国派兵出征，军队意外带回小国王后（苏菲·玛索 饰）祖传的三色镯，一个侵蚀帝国上下的魔咒由此开启。骄傲的帝王（姜文 饰）为解救被魔咒附身的女儿图兰朵（关晓彤 饰），遍寻天下能人破局。自小流浪到汗国的孤儿卡拉夫（迪伦·斯普罗斯 饰）与公主相遇并互相倾慕。因同情图兰朵的痛苦境遇，卡拉夫不惜以性命为代价解救心上人，然而却不知那魔咒与自己神秘的身世密切相关。此时的帝国王室因为魔咒掀起一场腥风血雨，嗜杀的将军（胡军 饰）欲凭借三色镯的力量谋权，君臣倾轧一触即发。每个人都面临着艰难选择，几方势力因为魔咒逐渐卷进了旋涡中心。

因身体敏感而须配戴口罩的Sung-wook在学校里被其他同学排斥和作弄。学期完结后，他被Hee-jung和Eun-mi邀请一起到渡假屋宿营。其实她们正与其他同学计划拍摄以杀人为题材的录影带赚钱，而Sung-wook却被蒙在鼓里，成为了录影带的主角。为求画面迫真，Hyung-joon、Jong-ho和Kyung-sik分别用刀和电锯指吓Sung-wook，并假装杀害他。可是拍摄完成后，Sung-wook却真的被刀刺中身体。众人见Sung-wook死去，便决定烧尸毁灭证据，而Eun-mi更把杀人录影带放进Sung-wook的尸体上一同烧掉。Sung-wook的尸体着火后，突然弹起，并跌落悬崖下。一年后，当Hee-jung在家煮食时，门钟突然响起，门外却没有人，只见后楼梯出现一个人影。Hee-jung上前查个究竟，发现一名全身红衣的蒙面人手持利刀，并试图袭击她。几经逃跑才能摆脱这个蒙面人。其后众人赶至Hee-jung的家，却发现雪柜门旁贴上一张染血的纸。纸上写着一个网址。他们跟随网址查看，只见画面上出现他们一年前杀死Sung-wook的过程，和屠房内出现一把神秘声音……

1988年9月，一伙名为“亚洲黑色特别行动小组”的恐怖分子劫持了环洋公司董事长屈孝真乘坐的专机，飞机迫降大陆。以郑贤平（葛优 饰）为首的恐怖分子以炸机要挟台湾当局释放其小组组长刘庭君。大陆方面召开紧急会议，决定立即通知台湾当局，双方建立合作，共同解救人质，打击恐怖分子，行动代号“美洲豹”。 以梁壮（刘小宁 饰）率领的中国人民解放军反劫机突击队与台湾反恐怖突击队先后来到机场，但反劫机行动接连遭到挫败，双方经过研究，决定进行最后的冲击……

The Deserted Archipelago was my first independently directed and produced film. The film won the Grand Prix at the Nyon International Film Festival and garnered considerable attention both overseas and in Japan. The film follows an extremely simple story of a plain boy who matures into manhood while constantly manipulated by nuns. But woven into this narrative are my own experiences and the history of postwar Japan as well as a series of fantasies. The result is a multifaceted and multilayered objet, the birth of a newly sur-realistic filmmaking. On August 15th, the day the war ended, I was in the third year of primary school. That day, when the reality that I had known turned completely upside down, I was saddled with the trauma of no longer being able to believe in anything. Searching here and there for some kind of spiritual salvation, I finally found the existentialism of Albert Camus. From there, I was able to build up my own kind of existentialism and this film is best understood as based in that “Kanai Katsu Existentialism.” The film was praised by European film scholars Max Tessier and Tony Rayns and was screened as part of “Eiga: 25 Years of Japanese Film,” a special program at the 1984 Edinburgh International Film Festival.