几个不同性取向的年轻(👭)人同居(🤧)一室(shì(🐁) )。其中(zhō(🌼)ng )有一个(gè )神(shén )秘死(sǐ )亡。在(🎓)(zài )一系(🏿)列(liè )的(📌)背叛和(🏁)感情纠缠中，爱与性的关系逐渐(jià(🦕)n )模糊，Kevin会(😄)(huì )不会(👾)(huì )变成异(yì )性恋并(bìng )和Wendy结婚呢？(😭)Vince可以成(🎶)功引诱(♑)到他们的邻家大(dà )男孩吗(ma )？Andy是不(🔐)(bú )是会(🍘)把(bǎ )那(📧)件衣(yī )服重新穿上？Ben为什么会一(🌴)直不停(🚩)的打扫(🤟)地(dì )下室呢(ne )？难道(dào )地(dì )下室(shì(🥃) )真的很(🎼)(hěn )脏吗(🚽)？混合(🍖)喜剧、肥皂剧、悬疑，关系(⛰)真(zhēn )是(🔘)很混(hú(👀)n )乱。这(zhè(🧓) )是(shì )一部(bù )如果让(ràng )你不喜(xǐ )欢(🌼)就会恨(🤝)的电影(😙)...
故事发生在奎米尔共和国(guó )。一天(🖥)(tiān )晚(wǎ(😣)n )上，罗林(🗿)斯(sī )和司机(jī )开着卡车骗过了美(🤫)国企业(🍭)西方石(💹)油有限公(gōng )司的门(mén )卫(wèi )，开(kāi )进(🔻)了西(xī(📉) )方石油(🍬)(yóu )的院内，绑架了四个美国人，杀了(🥗)剩下的(🐿)(de )所有工(🥝)(gōng )人。美(📀)(měi )国(guó )人梅(méi )尔•罗(luó )斯(🏆)在朋友(👗)的帮助(🎖)下，侥幸(❤)逃过这次绑架。并且报(bào )了警。在(zà(🐷)i )奎米(mǐ(💠) )尔情报(🥉)(bào )部门官(guān )员哈金的办公室内，哈(🌶)金拿出(⚓)了罗林(🧑)斯的(de )照片，并(bìng )且说(shuō )罗林斯(sī )就(💪)是奎(kuí(⭕) )米尔解(🚏)放组织的成员。梅尔也不清楚到底(🔴)(dǐ )是不(📚)是(shì )解(🗿)放组(zǔ )织干的(de )。只是(shì )说看到有人(🔌)拿美国(🤺)武器。哈(🐬)金将梅尔安排(pái )在旅馆(guǎn )内，告(gà(🐊)o )诫(jiè )梅(🥨)尔(ěr )不(🉑)要出(chū(🍰) )去，并且派人在旅馆门口看守。玛雅(🐄)是个(gè(🙊) )身份十(🗓)(shí )分神秘(mì )的(de )女人(rén )，来到(dào )了梅(🥐)尔(ěr )的(🌧)房间，声(🛡)称自己是奎米尔解放组织的人(ré(🍭)n )，拿出(chū(🥞) )一(yī )份(🐛)报(bào )纸，报(bào )纸上报(bào )到说罗斯指(🥄)认罗林(🍟)斯是奎(🥪)米尔解放组织的(de )成员，并且有(yǒu )美(🎫)(měi )国人(🗞)(rén )领路(💾)……
When Ninas husband goes off for a few weeks to work, she meets and starts seeing a photographer. This story is told as an interview by a journalist writing about adultery who is talking with both Nina and the photographer in separate interviews. Through him, we learn much about the couple and their attitudes on adultery.
The paths of people from various countries cross during the course of one night. They speak different languages, but they are fatefully bound together by the solitary quest for happiness and deliverance. Sloping paths are all that's left for them in an age of lost perspectives, lost refuges and lost homelands. They sink deeper with every movement that should be liberating them. Every gesture of love becomes a gesture of humiliation. The desperate dance of their life has become a passionate dance of death.
Set in 1950s Tunisia, the film is about a 25-year-old woman, Alia, who returns to her place of birth—a prince's palace in which her mother, Khedija, worked as a house servant and mistress. Alia had fled the palace ten years earlier, at which time she spent burying tortured memories of her childhood. In her visit to pay respects for the death of the prince, Alia wanders through the largely abandoned palace where she is confronted by these memories represented as detailed flashbacks of her childhood. She begins to piece together a narrative about her mother's sexuality and sexual exploitation in a space ordered by gender and class difference, and is re-awakened to her persistent questioning about her father's identity. As Alia negotiates her past, she also deals with her current relationship to her lover, Lotfi, who has asked her to have what seems to be yet another abortion. Her development throughout the film contrasts her awakening to a past of sexual and social servitude which many of the female servants experienced in the palace against her own contested independence fraught with pain, conflict and uncertainty.
Rich Hungarian-born orphan Katya Davidov commissions Jordan Kirkland to research her past starting from a photograph, showing her as a child next to an elusive Fabergé music box. Luckily experienced Yankee-Hungarian treasure hunter and womanizer Nick Rostov gently forces his help upon her, although Jordan stubbornly risks dealing with his dodgy competitor Gudrun Kuper and her ruthless employer, count Borodin.