心理学家克里斯•凯尔文（Donatas Banionis 饰）在飞往索拉瑞斯星之前来到儿时的父母家与当年的索拉瑞斯飞行员亨利•伯顿（Vladislav Dvorzhetsky 饰）见面。伯顿警告凯尔文索拉瑞斯星上会有不可思议的奇事发生，蝙蝠但后者并不以为意。凯尔文离开前，蝙蝠当 着父亲（尼古莱•格陵柯Nikolai Grinko 饰）的面焚毁了自己的个人物品。凯尔文到达索拉瑞斯星附近的太空站后，对科学家奇巴瑞安博士（Sos Sargsyan 饰）之死进行调查，却发现自己多年前已经去世的妻子哈莉（Natalya Bondarchuk 饰）竟突然出现。惊慌失措的凯尔文与太空站上另三位科学家讨论该如何面对怪事，却发现原来每人都深受其扰，不明就里……本片被提名1972年戛纳电影节金棕榈奖，并获同年戛纳电影节评委会大奖和国际影评人协会大奖。
窦鹏
回复 :新生代言情小说家苏木子因出版了一系列爱情小说而闻名，某时尚界的评选活动又将她评为新世纪的情爱专家。刚刚获选的苏木子就被记者爆料三年多没有谈过恋爱的事实。迫于书商和出版社的压力，苏木子不得不迅速谈一场恋爱来挽救她的事业，苏木子的两个死党文馨和裴霏为此请来了情场杀手李尔东来征服苏木子。新媳妇文馨竭尽全力地维持着和丈夫陈家奇的二人世界，婚后的枯燥生活和婆婆的不愉快，家庭主妇的隐患等一系列的问题使她筋疲力尽......私企人力部门主管裴霏和男朋友艾然维持着长达五年的异地恋，裴霏在物欲横流的都市里感到孤单和寂寞，她投入到另一个男人的怀抱，直到有一天，艾然来了......当现实生活冲击理想恋情，当无处安放的爱成为负担，一场围绕当代男女婚恋观的斗争悄悄拉开帷幕......
郑雪儿
回复 :馬力歐和奧莉維亞一直對愛情持懷疑態度。某夜，在與各自情人分手後，他們相遇且互有好感。有天他們遇見一隻流浪貓，為了給貓咪一個家，他們決定一起住，並為貓咪取名「寶貝」。他們總是在想要是分手後，貓咪該怎麼辦。就當在分手的那晚，貓咪走失。心急如焚的兩人到處貼尋貓啟事，上面寫著「寶貝底叨位」。
向蕙玲
回复 :In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now.But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film).In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack.imdb comment
