鬼影实录1

连续4年，每年的4月30日都会发生一起凶杀案，相似的受害者，相似的作案手段，警方判断，这四起凶杀案是同一人所为。今年的4月30号就快要来临了，为了避免悲剧再次发生，安良（李文启 饰）和小蔡（许亚军 饰）成为了这起连环凶杀案的主要负责人。与此同时，颁奖典礼的主持人卢静（林芳兵 饰）宣布了此届时装表演大赛，最终获奖的是华盛广告公司，该公司的总经理正是卢静的丈夫王克伟（孙淳 饰）。随着安良和小蔡对案件调查的深入，他们逐渐的将矛头指向了王克伟。王克伟的本命叫做罗正直，在很多年前，他因为强奸罪而被关进了监狱，一晃眼12年多去，改名换姓的他决定复仇。

*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.

一对生活在中越边陲小镇的越南夫妇渴望去到巴黎，追逐梦想的生活，在两人翻山越岭即将奔赴海港之际，却意外遭到一群人的围追堵截，一场追逐战在月色下的芭蕉林里展开......

电影讲述1994年，张正恒（詹怀云 饰）、程翔（邱以太 饰）、王尚禾（巫建和 饰）是成功补习班里面令人头痛的“三剑客”，17岁正是青春正盛、贺尔蒙喷发的年纪，在升学至上、禁止恋爱的补习班里，3个来自不同家庭、不同个性的大男生，他们被迫放下探索自我的欲望，全心准备联考。正恒想在毕业前谈一段轰轰烈烈的恋爱，却连对女生开口搭话的勇气都没有；程翔因为家中父母失和，住进正恒家准备考试，他女朋友一个换过一个，却不知道自己真正想要的爱情是什么？王尚禾的父亲就是补习班主任，在他的高压管理下他只能压抑心中想法，努力活成父亲期望的样子。三人的友谊，因为一个女孩“陈思”（林奕岚 饰），开始有了奇妙的变化。直到他们遇见补习班新来的小志老师刘敬志（侯彦西 饰），一段寻找自我的旅行终于启程。故事取材自蓝正龙国中补习班老师，已故纪录片导演陈俊志的故事（电影将时空置换成高中），三剑客虽未必是自己和当时补习班同学的经历，却也是从身边的其他人的经验做发想，借此融合成现在这样一个带点荒唐、充满热血，看到最后令人不禁鼻酸的故事。