呼吸过度全集无删减

申东烨和秀智两人被确定为下月13日在京畿道一山举行的"第57届百想艺术大赏"的主持人，将出席3个多小时的颁奖典礼。申东烨从50届开始到52届连续3年担任百想艺术大赏主持人，他以传达准确信息和消除候选人紧张的机智台词引领颁奖典礼， 今年还入围了TV部门综艺奖候补名单，具备了MC和候补资格。连续6年担任MC的秀智现在成为了真正的"百想女神"，与出众的美貌一样，文静的主持实力也非常出色。 已经与申东烨合作了5次，现在只要看眼神就能看出来时机，展现完美配合。第57届百想艺术大奖将于下月13日晚9时开始在JTBC进行现场直播，考虑到新冠肺炎疫情，将以无观众方式举行。

此片是一部神话故事剧。秋翁（齐衡 饰）爱花如命，枯死的牡丹经他的手也能复活开花。此事传开后，财主张霸（王岚 饰）打起坏主意，借机敲诈未果，便唆使张衙内（关宏达 饰）等泼皮进园饮酒作乐，高兴之下他让秋翁把花园送给他，秋翁不允，张即让手下将花园砸毁扬长而去。深夜，伤心的秋翁整理着被毁的花园，突然，牡丹仙子（王小蓉 饰）化作村姑出现在秋翁面前，做法将落花返枝，秋翁惊咤不已。张衙内闻讯后，诬秋翁妖法惑众，勾结官府将秋翁下狱。受贿的贪官本想重判秋翁，花仙施法大闹公堂，并惩治了作恶多端的张衙内。获释的秋翁回到园内，只见蝴蝶飞舞，百花盛开......本片根据《今古奇观》中《灌园叟晚逢仙女》改编。

*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.

长久以来，剧作家大卫（约翰·库萨克 John Cusack 饰）都过着郁郁不得志的生活，艺术家特有的清高让他对如今腐败混乱的话剧界充满了失望之情。为了讨好情妇奥利芙（詹妮弗·提莉 Jennifer Tilly 饰），黑帮大佬看中了名不见经传的大卫的剧本想要投资，作为前提条件 ，大卫必须让奥利芙饰演主角。虽然奥利芙唠叨的个性和蹩脚的演技让大卫深感抓狂，但在利益面前，他痛苦的屈服了。就这样，一个奇怪的剧组诞生了。剧本的漏洞，女演员们之间的矛盾，男主演日益肥胖的身材都让大卫感到绝望，但令他惊奇的是，一直监视着奥利芙的保镖契奇（查兹·帕尔明特瑞 Chazz Palminteri 饰）在无意中展现了过人的编剧才能。在契奇的帮助下，被改写的剧本居然获得了盛大的成功，与此同时，契奇对由自己操刀的剧本展现出的病态执着和剧组里混乱的男女关系让大卫陷入了另一个困境……