Based on Eileen Chang's novels, Stanley Kwan's film Red Rose White Rose and Ang Lee's film Lust, Caution represent very different styles while sharing many parallels. First of all, both films are similar in employing titles that consist of two dialectical opponents. Second, emphasizing on the historical background, the two directors try to explore the erotic relationships and feminine consciousness implicit in Chang's original texts. Finally, some related works of Chang's are incorporated into these films. In Red Rose White Rose, Kwan's innovation is shown in blending Chang's other prose, fictions, and an existing movie, so that the story is interestingly enriched. Such transplantation and rearrangement not only provides a new interpretation, but also uncovers Chang's insight in a deeper manner. This produces an amazing effect that what is shown on the screen seems to be coming from the hypotext, but in reality results from a metaphorical transformation of the relationship between characters. In Lust, Caution, Lee even draws from Chang's personal life, particularly her love affair, and hence creates self-revealing, rather than self-indulgent characters. In a subtle reconstruction of the historical background, Lee also injects much compassion into characters. As a result, one can detach Chang's and Lan-Cheng Hu's works at some key scenes. Originally, Chang's text is relatively indifferent about the outside world. Lee changes it into a passionate movie which includes bizarre but beautiful sex scenes. Such magic transformation, however, enables Lee to return to Chang's original spirit. This paper sees its major task in showing how both films respectively acquire a new way in visualizing Chang's works, and to what extent the efforts of the two directors should be appreciated.