豚鼠恶魔实验

越西鸿（谷峰 饰）是邪恶的铁船帮帮主，他手下有着名震江湖的十三鹰，作为他的爪牙，助其排除异己。司马鑫（杨治卿 饰）在江湖中德高望重，为人正派的他自然成为了越西鸿的眼中钉，最终，司马鑫和其家人全部都命丧在十三鹰的刀下。戚明星（狄龙 饰）是十三鹰中的一员，尚存一丝善念的他对越西鸿的滥杀无辜早已经忍无可忍，遂离开了帮派。越西鸿将其视为叛徒，命手下全力追杀。逃亡途中，戚明星救起了一名手上的青年，他的真实身份正是司马鑫的女婿卓一帆（傅声 饰），两位侠肝义胆的志士一拍即合，不仅将前来追杀的刺客悉数歼灭，更杀回了越西鸿的老巢，誓要为江湖除害。

在面對愛人情感不貞問題的激烈鬥爭中，發生了一場可怕的誤會，使得兩個最好的同志姊妹，彼此疏遠了很多年。 十年後，這對姊妹因姊姊不幸的重病而重新團聚。她們在談論未來時，不斷地回想起了過去種種。 雖然，他們很喜歡彼此的成長及改變，但在未實現的夢想中，可以明顯感受到學融（姊姊）不安且緊張的情緒，以及對美好生活藍圖的絕望。 當知道他們剩下在一起的日子愈來愈少，這對親親壞姊妹安排了人生最大之冒險旅程，希望在失去最愛的姊妹之前，能夠留下彼此最美好的回憶。 一路上，他們更加體悟了生活親情、愛情、和彼此友誼的重要性。他們彼此信守諾言，讓學融未完成的夢想成真！

One of the most widely praised American avant-garde films in recent years, James Benning's 1977 feature is a laconic mosaic of single-shot sequences, each offering some sort of image/sound pun or paradox. At once a crypto-narrative with an abstract, peekaboo storyline and a fractured, painterly study of the American midwestern landscape, 11x14 points toward the creation of a new, non-literary but populist cinema.(James Hoberman, who chose 11 x 14 as one of the top ten films of the seventies (Film Comment, January 1980) and later wrote the above text in The Village Voice)

*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.