机缘巧合之下，莎拉（玛格特·罗比 饰）和大卫（科林·法瑞尔 饰）两个陌生人穿过时空之门，踏上了一场大胆、绚烂，充满未知的冒险之旅。他们回到过去，重历了各自生命中至关重要的时刻，也见证了对方命运的转折点，而他们之间的关系，又是否会因此改写？

Charlie, forced to reevaluate her all-female mechanic shop, unknowingly confides in her online confidant Beau, who turns out to be her real-life business rival, their connection blossoms amidst professional rivalry.

A young man's perennial crush leads him into an unexpected threesome, he thinks it's his ultimate fantasy come true. When the fantasy ends, all three are left with sobering real-world consequences, to take responsibility for their actions.

　　故事讲述露西天生就是一名收藏家，她与男友分手，而男友是惠特尼博物馆的老板。露西不知道该把恋爱时的物品放在哪里，于是她在一家陌生酒店的大厅中策划了心碎画廊，在那里她找到了自己的声音，并学会了放手去爱。

故事发生在1945年，弗雷德（达纳·安德鲁斯 Dana Andrews 饰），艾尔（弗雷德里克·马奇 Fredric March 饰）和霍莫（哈罗德·拉塞尔 Harold Russell 饰）是三名刚刚走下战场的军人，即将回到久违的家乡，即将见到久别的亲人，虽然三人的境遇各不相同，但内心中的激动和忐忑却别无二致，分别在即，他么许下了再相聚的约定。 　　丈夫艾尔的平安归来让米莉（玛娜·洛伊 Myrna Loy 饰）的内心陷入狂喜久久不能平静，带着已经长大成人的一双儿女，四口之家的未来幸福而又光明。弗雷德就没有这么幸运了，不仅父母的状况不容乐观，新婚的妻子也风流成性夜夜出没于欢场之中。对于霍莫来说，战争给自己带来的残疾成为了压在亲人和爱人肩上的重担，在自责和悔恨中，他终日闷闷不乐。约定的日子很快就到来了，此时的三人尚不知，这一次再会即将改变他们的命运。

　　纽约港的码头上，以约翰尼为首的黑社会势力无情地压迫着码头工人们。曾经是拳击手的特里（马龙·白兰度 Marlon Brando 饰）来到码头为约翰尼工作。他的朋友乔伊因为向犯罪委员会揭发约翰尼等人的罪行，被其手下，也是特里的哥哥查理从楼顶上推下摔死。乔伊的妹妹伊迪（爱娃·玛丽·森特 Eva Marie Saint 饰）发誓要为哥哥复仇，与教区牧师巴里神父一起展开调查。知情人都不敢出面告发。特里也目睹了乔伊被害的经过，虽然同情伊迪的遭遇，想要帮她逃离黑社会的迫害，但他没有告发哥哥的罪行。在与伊迪的接触中，两人渐渐产生感情。当伊迪得知他是杀害哥哥的帮凶，她拒绝了他。之后哥哥也为了救特里而被约翰尼杀害。无数罪恶的事件让特里决心去揭发约翰尼的罪行。在码头上他被约翰尼的手下打成重伤，神父和伊迪赶来支持他，一直沉默的码头工人们也觉醒了，他们团结在一起，为了正义抗争。
　　本片获第27届奥斯卡最佳影片、最佳导演、最佳故事剧本、最佳男主角等8项大奖。

　　故事发生在1941年的夏天，帕维特（蒙哥马利·克利夫特 Montgomery Clift 饰）刚刚被调到夏威夷军营，连长霍默思（Philip Ober 饰）看到帕维特体格壮硕，便邀请他加入军中的拳击队。没想到，帕维特拒绝了霍默思的邀请，这令霍默思感到愤怒又难堪。帕维特也曾是拳击界的一把好手，但一次意外中他打伤了对手的眼睛致其失明，悔恨交加的他发誓永远不再站上擂台。
　　霍默思的妻子凯伦（黛博拉·蔻儿 Deborah Kerr 饰）美丽又温柔，在士官长瓦尔登（伯特·兰卡斯特 Burt Lancaster 饰）的诱惑之下，两人产生了背德的感情。一次意外中，士官强森（欧内斯特·博格宁 Ernest Borgnine 饰）的恶意挑衅导致了士兵马乔（弗兰克·辛纳特拉 Frank Sinatra 饰）的死亡，面对这一悲剧，帕维特决定不再忍耐，愤怒至极的他向强森挥起了拳头。

　　上世纪70年代的苏格兰，一个略带神经质的女子贝丝（艾米丽·沃森 Emily Watson 饰）不顾宗教束缚嫁给了石油工人亚恩（斯特兰·斯卡斯加德 Stellan Skarsgård 饰）。恩爱生活并不长久，亚恩在一次石油作业中身负重伤，沦为瘫痪。贝丝非常难受，甚至觉得是自己的欲望导致了这个悲剧。为了唤醒丈夫的生命力，贝丝挑逗不同的男人，和他们发生关系，让亚恩的病情可以被情欲的力量征服。丈夫的病情竟然有了好转，然而，村里的人都对贝丝投以唾弃的目光，贝丝亦被送进精神病院。为爱牺牲的信念在贝丝心中强烈燃烧，将再一次把她逼入绝境。

　　查理（伊恩·基思 Ian Keith 饰）爱上了厨师的女儿艾玛（科琳·格里菲斯 Corinne Griffith 饰），然而，这段感情是注定不会受到众人的祝福的，为了避免东窗事发，查理将艾玛送到了自己的叔叔汉密尔顿（HB·沃纳 H.B. Warner 饰）家。
　　没过多久，艾玛就识破了查理的谎言，明白自己其实是被后者无情的抛弃了。绝望和愤怒之中，她决定嫁给一直对自己很好的汉密尔顿，可是这段仓促的婚姻很显然并不能给艾玛带来真正的幸福。一天，艾玛结识了名为尼尔森（维克特·凡科尼 Victor Varconi 饰）的军官，为了能够让尼尔森在港口同拿破仑的军队交战，艾玛不惜抛头露面四处奔走，一来二去之间，两人相爱了。

　　It has been said that most great twentieth century novels include scenes in a hotel, a symptom of the vast uprooting that has occurred in the last century: James Ivory begins Quartet with a montage of the hotels of Montparnasse, a quiet prelude before our introduction to the violently lost souls who inhabit them.
　　Adapted from the 1928 autobiographical novel by Jean Rhys, Quartet is the story of a love quadrangle between a complicated young West Indian woman named Marya (played by Isabelle Adjani), her husband Stefan (Anthony Higgins), a manipulative English art patron named Heidler (Alan Bates), and his painter wife Lois (Maggie Smith). The film is set in the Golden Age of Paris, Hemingway's "moveable feast" of cafe culture and extravagant nightlife, glitter and literati: yet underneath is the outline of something sinister beneath the polished brasses and brasseries.
　　When Marya's husband is put in a Paris prison on charges of selling stolen art works, she is left indigent and is taken in by Heidler and his wife: the predatory Englishman (whose character Rhys bases on the novelist Ford Madox Ford) is quick to take advantage of the new living arrangement, and Marya finds herself in a stranglehold between husband and wife. Lovers alternately gravitate toward and are repelled by each other, now professing their love, now confessing their brutal indifference -- all the while keeping up appearances. The film explores the vast territory between the "nice" and the "good," between outward refinement and inner darkness: after one violent episode, Lois asks Marya not to speak of it to the Paris crowd. "Is that all you're worried about?" demands an outraged Marya. "Yes," Lois replies with icy candor, "as a matter of fact."
　　Adjani won the Best Actress award at Cannes for her performances in Quartet: her Marya is a volatile compound of French schoolgirl and scorned mistress, veering between tremulous joy and hysterical outburst. Smith shines in one of her most memorable roles: she imbues Lois with a Katherine-of-Aragon impotent rage, as humiliated as she is powerless in the face of her husband's choices. Her interactions with Bates are scenes from a marriage that has moved from disillusionment to pale acceptance.
　　Ruth Prawer Jhabvala and James Ivory's screenplay uses Rhys's novel as a foundation from which it constructs a world that is both true to the novel and distinctive in its own right, painting a society that has lost its inhibitions and inadvertently lost its soul. We are taken to mirrored cafes, then move through the looking glass: Marya, in one scene, is offered a job as a model and then finds herself in a sadomasochistic pornographer's studio. The film, as photographed by Pierre Lhomme, creates thoroughly cinematic moments that Rhy's novel could not have attempted: in one of the Ivory's most memorable scenes, a black American chanteuse (extraordinarily played by Armelia McQueen) entertains Parisian patrons with a big and brassy jazz song, neither subtle nor elegant. Ivory keeps the camera on the singer's act: there is something in her unguarded smile that makes the danger beneath Montparnasse manners seem more acute.