In three separate segments, set respectively in 1966, 1911, and 2005, three love stories unfold between three sets of characters, under three different periods of Taiwanese history and governance.

At the end of the 19th century, Shanghai is divided into several foreign concessions. In the British concession, a number of luxurious “flower houses” are reserved for the male elite of the city. Since Chinese dignitaries are not allowed to frequent brothels, these establishments are the only ones that these men can visit. They form a self-contained world, with its own rites, traditions and even its own language. The men don’t only visit the houses to frequent the courtesans but also to dine, smoke opium, play mahjong and relax. The women working there are known as the “flowers of Shanghai”.

In this portrait of small-time hoods rendered in rhythm-of-life anecdotal detail, Gao is the leader of a circle of layabouts including his sidekick, Flathead, and their girlfriends, Pretzel and Ling. He is also the originator of petty crime schemes, which promise to get the gang nowhere fast.

An actress preparing to play in a historical epic is terrorized by someone faxing her pages from her stolen diary; has colorful flashbacks of her affair with a now-deceased man; and imagines black-and-white film-within-a-film scenes of the movie she is about to appear in.

In June, 1993 , the gravestone of Hsu Ching-Lan was finally found in Liuchangli by his brother after 40 years of searching. Hsu was killed by the KMT during the 'White Terror,' the organized suppression of leftist activities in Taiwan in the 1950s.

The story of a family embroiled in the "White Terror", mainland China's political repression that was wrought on the Taiwanese people by the Kuomintang government in the late 1940s.