在哈里（小罗伯特·唐尼 Robert Downey Jr.饰）的旁白中，幽灵这个带着黑色幽默的故事开始了。他本来是一个衰运连连的惯偷，幽灵因为一次躲避警察追捕的缘故，闯入了好莱坞电影的选秀片场。可谓歪打正着，导演竟然一下子就看上了哈里，让他前往洛杉矶接受角色培训。哈里就这样莫名其妙地成为了“准演员”，他将会出演一名神探。剧组专门安排哈里到真正的侦探佩里（瓦尔·基尔默 Val Kilmer饰）身边，体验真实的侦探生活。一桩命案等待着他们的调查，而死者是一名女士。这种惊险的生活真让哈里受尽了苦头，因为冷酷的佩里可不是一个容易应付的搭档。而同时，哈里在派对上重遇了年少时的梦中情人哈莫妮（米歇尔·莫娜汉 Michelle Monaghan饰）。她已经在好莱坞摸爬滚打一番，仍然名声未扬，如今她的妹妹更是神秘自杀。为了赢得美人心，哈里开始调查这件事情，这时才慢慢发现，这和他们之前接手的命案竟然相关，而且背后还隐藏着一个不为人知的巨大秘密。
小仪
回复 :一次演奏会上，小提琴家瑞安（莱斯利•尼尔森 Leslie Nielsen 饰）邂逅了美艳妇人劳伦（凯丽•勒布克 Kelly LeBrock 饰），劳伦对他大抛媚眼，吓得瑞安不知所措。联合国秘书长罗伯特将到哥伦比亚作反恐演讲，劳伦的丈夫希宾负责安排一切。这天瑞安收到了劳伦的邀请，并注明如果他不前来她将自杀。揣揣不安的瑞安如约来到了劳伦的别墅，却发现希宾早已倒地身亡。突然，一名独眼独臂独腿的男人出现将瑞安击晕了。当瑞安醒来后，他已被警察抓了起来，荒谬的是，瑞安谋杀希宾的罪名成立了。尽管他一再分辩，但他还是被押往监狱。途中囚车意外翻下了山崖，大难不死的瑞安开始了亡命天涯，他一方面要逃避追捕，一方面要设法找证据还自己一个清白！
老狼
回复 :故事发生于20世纪30年代的民国年间，城防司令身边一名副官张铁翼在寻找失散的妹妹时，无意间陷入一场命案，被怀疑成杀人凶手，只好设法逃避追捕，暗中秘密追查这一命案，当他成功破解后，却发现一个残酷的真相。
李亚明
回复 :Magdalena and Maria are two twin sisters who were separated at birth and know nothing of the other’s existence. Maria runs away from the boarding school in which she was brought up and finds work as a cabaret performer in the cafés of Marseilles. Magdalena lives with her adopted parents and works in an art gallery. The two sisters are joined by an invisible bond which draws them towards the same tragic conclusion.Director Werner Schroeter has acquired a reputation as an experimentalist filmmaker, hailed by some as an underrated genius, reviled by others for being a peddler of self-indulgent kitsch. Deux is arguably Schroeter’s most ambitious, unsettling and repulsive work to date. The director certainly wastes no time in alienating his audience; from the first ten minutes of the film it is clear this is not going to be an easy ride. The narrative cuts haphazardly between seemingly unconnected events, alternating between realism and stylised fantasy dream sequences, periodically shocking the spectator with graphic images of lesbian sex and a woman being slowly disembowelled. Having several actors playing multiple parts only adds to the sense of artifice and utter confusion, which is a pity as there is manifestly a lot of great acting talent on show – not least of which is Isabelle Huppert. The film’s sheer relentless grotesqueness and self-indulgence is so extreme, so unbridled, so stomach-churningly provocative, that it is hard to take any of it seriously.
