剧情简介
徐梦楠是一个孤儿，钟馗从小被乡村教堂的神父抚养长大，钟馗在成长的过程中认识了俞玥，同为女孩的她们在产生深厚友谊的同时也诞生了某种莫名的情愫，两人决定在一起之后受到了太多的偏见与嘲讽。两人搬到城市之后，一次偶然的机会俞玥的父母来看她们，结果俞玥的父亲因欠赌债要拿俞玥去偿还，俞玥的父亲不想先便宜了外人，于是强暴了她，俞玥选择割腕自杀，伤心欲绝的徐梦楠换上了女装，展开了对宋麟的复仇。
钟馗传说
徐梦楠是一个孤儿，钟馗从小被乡村教堂的神父抚养长大，钟馗在成长的过程中认识了俞玥，同为女孩的她们在产生深厚友谊的同时也诞生了某种莫名的情愫，两人决定在一起之后受到了太多的偏见与嘲讽。两人搬到城市之后，一次偶然的机会俞玥的父母来看她们，结果俞玥的父亲因欠赌债要拿俞玥去偿还，俞玥的父亲不想先便宜了外人，于是强暴了她，俞玥选择割腕自杀，伤心欲绝的徐梦楠换上了女装，展开了对宋麟的复仇。
刘惜君
回复 :眼看着就要奔四的韩松伊（姜惠贞 饰）感情生活依旧一片空白，一次偶然中，她和名叫镇浩（裴秀彬 饰）的男子相遇了，英俊帅气的镇浩很快就吸引了韩松伊的注意，两人一拍即合，感情发展惊人的顺利。然而，随着时间的推移，韩松伊最终还是发现了镇浩的秘密，那就是，除了自己之外，镇浩竟然还 有另外两个正在交往的女朋友。气不打一处来的韩松伊勇敢的站在了情敌们的面前，三个女人一台戏，在不断的斗智斗勇和争风吃醋之中，三人之间竟然产生了奇妙而又坚实的友谊。难道这种三女侍一男的局面就要这样继续下去了吗？抱着这样的疑问，剧情发生了剧烈的转折。
张可颐
回复 :韓順雲，一個大學學務處雇員退休的未婚老婦，伴隨她生活的是年邁的老母。兩個女人看似彼此相互折磨，更像是支撐對方繼續活下去的唯一依賴。有一天，她居然被兩個半夜潛入的小鬼強暴了。原因竟是因為她的母親……
张含韵
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.
