约翰尼因失职而受到处分，让他押送称作“包裹”的亨克回美服刑。亨克是大会前突然被惠特克上校下令逮捕的。在芝加哥机场，约翰尼遭到袭击，醒来时，亨克已不知去向。他赶到亨克家才发现，“包裹”并不是真正的亨克，在假亨克举枪瞄准来访的苏联领导人时，约翰尼抢先扣动了扳机。然而没想到，惠特克随后赶到，原来他才是主谋。
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.
潘华凤受邀至台湾参加研讨会，她此行除了研讨会外，还要与失散多年住在台湾的哥哥潘华锦见面，兄妹俩六十年没见，哥哥盛情款待她以及她的女儿迎晨，这让潘华凤倍感温馨。 其实哥哥华锦有个大秘密，他真实身分其实并不是贸易公司大老板，而只是饭店的清洁工，他编织这个谎言只是为了让妹妹华凤不要担心他，也希望给华凤留下好印象。幸亏有饭店副理王木杉的帮忙，否则华锦的这个大计划是无法成功的。但没想到，饭店总经理出差提早回来，华锦看似完美的计画变得岌岌可危。正当他们在享受亲情之余，他不知道有个坏消息在等他。 由于多月被客人客诉，总经理已决定要辞退华锦，华锦感到人生无望，同一个晚上，华锦不幸地让迎晨和华凤看到了他在饭店垃圾场独自清理垃圾，华凤万万想不到自己的哥哥为了招待她们，竟隐瞒自己是清洁工的身份，为了顾及潘华锦的面子，她于是决定不揭穿这事实。 离别的时候，两兄妹依依不舍，华凤含著泪水告诉华锦，希望华锦抽空回浙江老家一趟，让他们兄妹俩再一起好好品尝地道的家乡酒…… 华锦在回家的路上，妹妹的话一直在他脑海浮现，他脸上露出微笑，想着家乡酒的味道，没错，酒是故乡浓，只是，浓的不是酒，而是，乡愁。
玛丽（汉娜·许古拉 Hanna Schygulla 饰）爱上了名叫埃里希的男人，可是埃里希眼里只有钱。为了能够赚钱，埃里希甚至怂恿玛丽去做妓女。保尔（Rudolf Waldemar Brem 饰）和海尔共度了浪漫的一夜，可是保尔只将它当做是交易罢了，然而海尔怀孕了，被逼无奈的保尔只得和海尔结婚。 罗西（埃尔加·索尔巴斯 Elga Sorbas 饰）渴望成为一名演员，可如今她离自己的梦想依然十分遥远，为了维生，罗西还要出卖自己的肉体，来换取微薄的金钱。这些人都住在伊丽莎白（伊尔姆·海尔曼 Irm Hermann 饰）的房子里，伊丽莎白是一个冷酷无情的女人。这一天，伊丽莎白的屋子里来了一个名叫岳格思（赖纳·维尔纳·法斯宾德 Rainer Werner Fassbinder 饰）的希腊人，他的到来打破了在此处维系的微妙的平衡。
她绣的龙袍巧夺天工，却引来祸事不断！ 她外表看似天真无邪，却背负血海深仇！ 两个女人，亦敌亦友，亦正亦邪！ 究竟她们是真心相待，还是各怀鬼胎？
