該片集合浪漫、奇幻、喜劇元素，圍繞卡代布飾演的男主因救治受傷的美人魚(yú)(波西飾)而陷入情網(wǎng)的故事展開(kāi)。

家寶（鄧麗欣飾）樣子甜美，受到很多男士的歡迎。與志榮（森美飾）晴晴（鐘嘉欣飾）夫妻是老同學(xué)。家寶無(wú)意間發(fā)現(xiàn)了志榮與朋友碧蓮之間的曖昧，志榮更與家寶大談第三者，家寶面對(duì)晴晴的時(shí)候十分內(nèi)疚，不知是否應(yīng)該告之真相，也把事情告訴了自己的室友阿蚊（楊?lèi)?ài)瑾飾）。
　　家寶遇到了自己的舊男友大力（方力申飾）的同時(shí)也跟醫(yī)生Joe（張敬軒飾）互有好感，三角關(guān)系十分尷尬。家寶被人加害，懷疑是大力繼分手后的再次暗算。家寶后來(lái)還是覺(jué)得大力對(duì)自己的感覺(jué)是真的，于是重修舊好。
　　但沒(méi)想到，一切的事情都有各自的真相，令人大感驚奇

ACE是一個(gè)普通學(xué)校的新生，就像任何其他的新同學(xué)一樣。直到他96歲的祖父去世，留給ACE一只狗讓他照顧。ACE很快發(fā)現(xiàn)，這是一只會(huì)同他說(shuō)英文的吸血鬼狗狗。瘋狂的科學(xué)家沃霍爾博士和她裝模作樣的助手弗蘭克。嘗試捕捉吸血鬼狗狗，竊取他的DNA，開(kāi)發(fā)最新的抗衰老技術(shù)。 　　ACE必須保護(hù)爺爺留下的狗狗，并和它成為了最好的朋友。

三個(gè)性格各異的女人經(jīng)歷著三段不同的人生。一個(gè)性格豪放、一個(gè)曾經(jīng)保守、一個(gè)似乎永遠(yuǎn)也長(zhǎng)不大也不想長(zhǎng)大。 　　Vivian（谷祖琳 飾）對(duì)性秉持著開(kāi)放的態(tài)度，可謂衣食不愁的她，日日泡吧，看似快樂(lè)得不得了，卻還是有很多煩惱。直到一個(gè)人進(jìn)入她的視野……Kitty（李彩樺 飾）曾經(jīng)是個(gè)極其保守的人，而正是這個(gè)原因，讓她失去了摯愛(ài)的初戀Woody。于是Kitty開(kāi)始了放縱的生活。她本以為，這樣就能忘掉傷痛和Woody，但直到和他重逢，她才知道自己錯(cuò)了……美華（董敏莉 飾）是個(gè)永遠(yuǎn)長(zhǎng)不大的女孩。男友的不告而別，讓她一度崩潰。這時(shí)，上司樂(lè)小姐對(duì)她關(guān)愛(ài)有加，讓美華看到愛(ài)也存在于兩個(gè)女人間?？蛇@時(shí)，前男友又回到了美華身邊，她該如何選擇……

　　Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.