《尚食》在线观看

温斯顿·杜克、莎姬·贝兹、比尔·斯卡斯加德、本尼迪克特·王、大卫·里达尔将携手出演小田埃德森自编自导的导演处女作[九天](Nine Days，暂译)。影片讲述在一个远离我们所认知的现实世界的房子里，一个隐居的人(杜克饰)面见了人类灵魂化身的准候选人(贝兹、斯卡斯加德、王、里达尔饰)，原因是这个人曾经拥有的特权——生育。影片将于今夏开机。

一封封的匿名信，勾起了志焕（车太贤 饰）对昔日两位好友的思念。五年前志焕在咖啡店做兼职，一天他忙里偷闲在拍照，秀仁（孙艺珍 饰）和景喜（李恩珠 饰）走进他的镜头，也从此走进了他的生活。因为他对秀仁一见钟情了，可是当志焕向秀仁表白时却遭到了秀仁婉转拒绝了。但志焕没有放弃，他再一次在大庭广众之下恳求秀仁给他一次机会。秀仁跟景喜都喜欢志焕率直的性格，此后三人常常走在一起，建立起了友谊，三人都十分珍惜他们之间的友情。可是当他们同时感觉到了彼此之间模模糊糊的爱意时，秀仁跟景喜向志焕表示了三人行的尴尬，因此两名女孩便离开了志焕。时过境迁，志焕仍无法面对她们的离开。而匿名信的出现，也让他有了寻找秀仁与景喜的冲动，就在这时，他知道了一个鲜为人知的秘密……

*Shinjuku Mad* was one ofKoji Wakamatsu's six films from 1970. Grim and gritty, stark and steady, burdened with anti-moralizing, generously padded with sex, and totally redeemed by a soundtrack that needs to be released NOW. I knew nothing about this film, loading it up on to my laptop, and every last one of this film's sixty-sixty minutes kept me riveted.Bear with me. The film opens with the band cycling through a jazzy rave-up, the black and images depict dead Japanese throughout a modern city. From the alleyways of the slums, to center of the park, you catch glimpses of bodies everywhere. This introduction is capped off by a lingering shot of a blood-soaked naked woman, face down. By this point, the band has reached a sort of peak. There's a cut, the band changes the direction of the song a bit, and then we're treated to a series of exterior shots from downtown, the lunch hour, maybe. You see a lot of storefronts and stairwells, people moving about. All of the people in these splices are done in negative image.What follows can only be described as harrowing. After the credits, the reel switches to color. We're treated to the on-screen stabbing of a young man in a toga, his attackers strip his special lady-friend of her toga, spend about two minutes smearing her breasts with still-warm blood, and then take turns raping her. She doesn't seem to put up much of a fight. The scene is lensed with all of the enthusiasm of a television spot for a whole foods market.Well, that's a fucked up way to start a movie. If you're still reading, I'll have you know the brutality eases up a little, but the camera's tendency to seek out each scene's more lurid details is relentless. The band never lets up, either. Another constant feature of the film is the protagonist's alienation from society. That's a pretty dated-concept, in a way. This film is cashing in on what could loosely be called the Existential demographic in 1970's Japan. Parts of it could have been written by Oe. Others by Mishima. It definitely, at times, addresses a bit of that lingering air of revolution, but more on that later.The father of the kid stabbed in Technicolor shows up in the nest reel, in the same apartment his son was murdered in. This confused, grieving father asks a totally baked Shoko Asahara for information about the events leading up to his son's death. The long-haired no-goodnik is toking on a Sharpie-sized doobie. He gets so fucking high he passes out and the dad is left there in the empty apartment, getting a major contact-buzz.So, the plot is basically that kind of exchange in larger and larger settings, intercut with glorious shots of the disillusioned father walking through industrial slums. The father, searching for the "Why" to his son's death goes on his quest and pisses just about everyone he comes into contact with off. He goes into subway stations and totally kills some beatniks' buzzes. Then he bullies a Hare Krishna ROCK AND ROLL SUPERSTAR and his belly-dancing percussionist at a park. Then he heads off to a bar, and we're treated to what must have been Tokyo's Greatest Garage Band getting low-down and sleazy here. This scene pretty much sums up what the film is about. As you dig the scuzz and the fuzz, the camera catches all manner of degeneracy and wanton reefer-use. And the bar has no less than three groups of people making out. And they get excessive with the groping.Eventually, the father catches the ringleader of the vicious band of murderer-rapists. "Shinjuku Mad," is his name. After an unbelievably long and convoluted exchange between the protagonist and Shinjuku Mad, it comes out that Mad and the boys are rebelling against all of Japan. It's open season on everyone but them. His son was only a casualty, nothing personal. Their intent is to go on rebelling against society through random acts of violence against people and property.After going through all the trouble of finding Shinjuku Mad, the old man's mind is blown by revolution for revolution's sake. After a few pummellings, he manages to turn the fight around. He winds up leaving with a nude girl that had been tied to a post for the entire scene.He goes back to the apartment his son was murdered in to find his special lady-friend naked with six other dope-smoking cats grooving on free love and blue balls.He decides he's happier with Shinjuku Mad alive and kicking, the band is at another one of its high points, and the camera pans out to the railroad yard, telephones wires, and the bare sides of modern buildings.That was Japan, thirty-seven years ago.

拖吊车司机阿宗每天依照指示拖吊违规车辆，来维持自己和家人的温饱，却觉得手上每张钞票都充满了车主怨念；美术老师以莲对自己偶尔不得不违规停车充满罪恶感。那天阿宗不小心碰到了以莲，于是加害者碰到了被害者。