Three stars appear in two separate but intertwined stories of romantic triangles gone wrong in this ambitious drama. In the first segment, Hagolin is a loutish construction worker with an unhappy wife, Eponine. The wife becomes involved with a swarthy working man, Larnier, and their passion knows no boundaries of caution or safety. Eventually, Eponine's and Larnier's lust drives them to madness, and they murder Hagolin. The second tale concerns an up-and-coming young lawyer, Claude, whose mentor is a highly successful veteran attorney, Lamerciere, with a beautiful young wife named Florence. Claude finds himself defending Larnier and Eponine, while Lamerciere dies of a heart attack after he discovers that Florence has been unfaithful to him with Claude.

Greece, in the 1920's, is occupied by the Turks. The country is in turmoil with entire villages uprooted. The site of the movie is a Greek village that conducts a passion play each year. The leading citizens of the town, under the auspices of the Patriarch, choose those that will play the parts in the Passion. A stuttering shepherd is chosen to play Jesus. The town butcher (who wanted to be Jesus) is chosen as Judas. The town prostitute is chosen as Mary Magdalene. The rest of the disciples are also chosen. As the movie unfolds, the Passion Play becomes a reality. A group of villagers, uprooted by the war and impoverished, arrive at the village led by their priest. The wealthier citizens of the town want nothing with these people and manipulate a massacre. In the context of the 1920's each of the characters plays out their biblical role in actuality.

Marietta, servant of aristocrat Don Cesare, is the bellezza of an Italian town where men gather nightly in the tavern for the ‘game of the Law,’ selecting one by lot to boss and humiliate the others. Illicit passions abound: the judge’s wife pursues Francesco, son of crime boss Matteo, who is after Marietta (so is her brother-in-law); Marietta wants engineer Enrico for a husband, but he claims he’s too poor to marry. So she decides to steal herself a dowry! All this may lead to an explosion…and some changes in who dictates ‘the law.’

A man on the run. A life at stake. A people about to explode

Melina Mercouri plays an actress who is attempting a comeback with a staging of the Greek tragedy "Medea" (about a woman who kills her children) in her native Greece. As a publicity stunt, she arranges a meeting with an American woman (Ellen Burstyn) who is serving a prison term for killing her own children. Features Mercouri performing "Medea" in the original, intercut with Burstyn narrating her crime.

夏日十点半基本上来说还是讲述男女之间的爱情心理，严格的说，探讨女人的心理。最近看的电影，好像都是在探讨人的心理，尼采所说的心理学大行其道的时代也许在佛洛依德之后从来没有衰落过，而且还将继续强盛。 一看开头让人以为是一部惊悚片，加上电影名字的诱惑（很有希区柯克风味），很能吸引人。开头是三个快速跳接的镜头，夜晚，雨，小巷，黑衣男人，枪，这都给人带来强烈的心理调节，也许对于艺术片来说，这是能快速让人进入的一种方法。男人推开门，一对裸体的男女在交媾，开枪，砰，砰，砰。情景很熟悉吧，好像都是这么干的。想想是不是有点肖申克救赎，安迪的枪没开，别人替他开了，我们假设安迪开枪了，那又如何，他就十恶不赦了吗？ 开头的悬念结束了，一部轿车徐徐开来，两女一男，一个孩子。之间的情爱关系恰恰与凶手一家形成了鲜明的对称。而随后的故事情节，这种对称是重要的。玛利亚和保罗是一对夫妻，克莱尔是插在他们之间的第三者，似乎玛利亚也很清楚，而且还是玛利亚故意把克莱尔叫来的。玛利亚由于自己处于这种背叛的特殊地位，所以他对杀人凶手罗德里格特别同情，一开始她就宿命般的说要拥抱这个凶手。到得旅馆之后，人已经满员了，玛利亚千方百计打探和寻找罗德里格，命运上同情感越来越强，迫切渴望能够救助他。 这种心理按佛洛依德的心理学推论是完全符合逻辑的，你的心理满足实现不了的时候，你渴望处于你相同地位的人能够完成你未完成的事业，而且看现在网络上yy小说那么受欢迎，就知道人类的这种心理是多么强大了。而且罗德里格的妻子还是那种人尽可夫的那种，这种情感上的背叛是没有法律制裁的，难道这就不是一种罪吗？这种罪谁来惩罚？从情感的逻辑上来说，罗德里格是正义的，全镇上的人也都同情他。 玛利亚在阳台上意外的看见保罗和克莱尔在狂吻，这也许更加加重了她的心理，恰巧这时她发现罗德里格的时候，毅然而然的决定去救助这个绝望的男人。她救了他，并且为了她完成这种壮举而洋洋得意。但罗德里格最后自杀了，伸冤在我，我必报应。玛利亚心理最后失落到空荡荡的。最后她逃走了，保罗和克莱尔大声呼喊着她，很像中间那些经常寻找罗德里格的时候一样，大声呼喊他的名字，而玛利亚也沉默无语，消失不见。

An American scholar in Greece sets about improving the local prostitute with whom he is infatuated.

A retelling of the Greek myth of Phaedra. In modern Greece, Alexis's father, an extremely wealthy shipping magnate, marries the younger, fiery Phaedra. When Alexis meets his stepmother, sparks fly and the two begin an affair. What will the Fates bring this family? Alexis's roadster and the music of Bach figure in the conclusion.