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1929年春，蒋、桂军阀矛盾激化，国民党广西农工民主厅厅长俞作柏（郭少雄）策动在前线任总指挥的表弟李明瑞（唐汤民）阵前倒戈，新桂系全线溃败。事后俞作柏被蒋介石任命为广西省主席，但广西政局依旧动荡。为了巩固自己的势力，俞在香港拜会了共产党高层，请求派遣干部前来广西协助他工作，邓小平化名邓斌（卢奇）来到广西。起初因俞心生悔意，邓斌未受待见，但在李明瑞的精心安排下，邓、俞达成同舟共济的协定，统战、兵运及农运等工作在广西有条不絮地展开。蒋介石听闻，很是不满，派心腹郑介民用金钱挖俞、李部队的墙角，并扣发粮饷，李明瑞差点因部下叛变丧命。面对突变的形势，来不及请示中央的邓斌说服俞、李，将他们掌控的部队和军需辎重迅速转移到了桂西重镇百色，准备不日起义。

庄田力弥40歳、現在原子力機構にたずさわる研究職員。彼は日常の平和な、根無し草のような頼りなく漂っている時間に生きている。それがある日付のときから、破滅の道を選ばざるをえなくなる。庄田の妻夏那子が見知らぬ少女を誘拐したのである。それは奇妙な事件だった。得体のしれない闖入者のように、少女の方から彼らの家庭に入りこんできたのである。妻は少女が力弥の過去となんらかの関係があると信じ、またそれを裏づけるように力弥の昔の友人田屋が登場する。たしかに力弥には隠された暗黒の時代があった。戦後日本の前衛党が非合法化された時代、大学生であった力弥はその細胞の末端にあって、当時計画されたアメリカ大使誘拐事件に加わったメンバーだった。だが事実は前衛党の挑発行為であったことが暴露され、裏切られた力弥たちはその重い過去を背負ったまま沈黙したのだった。妻が誘拐した見知らぬ少女の背後にかつてのメンバーであり、あの事件以来海外に姿を消していた友人田屋の帰国。それらの暗示は力弥にあのいまわしい過去が現在にも影をおとしていることを教え、戦慄させるのだった。そしてその不安は現実に起る。力弥は脅迫された。だがその相手は彼のまったく知らない若い娘でありその背後にあるものは反戦グループと自称する組織だった。そして彼らの計画しているものはアメリカ大使誘拐であり、庄田夫妻の少女誘拐を理由に、彼等への協力を強いられたのだ。二十年近い時間をへだてて、偶然まったく相似したアメリカ大使誘拐計画の全貌。力弥は思わず幻惑の淵に溺れた。

东北姑娘杨杨（潘阳 饰）因投资直播公司破产欠债而逃到山东一个村庄，在那里，她住进了村里唯一的一家家庭民宿，由孙二婶经营。孙二婶则是个经营民宿的主妇，她以一哭二闹三上吊的方式成功将在北京打工多年、事业毫无起色的儿子大光（巩天阔 饰）硬拉回家。经历了连续失败的相亲之后，大光对结婚不感兴趣，只想去北京闯荡。然而，孙二婶下了死命令，不许大光再去打工，而是要他找对象结婚。在杨杨被催债无法抵挡的情况下，她决定找到自己的父亲老杨寻求帮助。为了得到投资，她谎称入住的民宿是自己投资开的，并且经营得很好。老杨相当高兴，但要派张会计来考察。面对这个新的谎言，杨杨陷入了困境。于是，杨杨和大光达成了一项交易：她假装是大光的女朋友，让他能顺利去打工，而大光则扮演她的老板，让她能够成功获得老爸的投资。他们雇佣了村民扮演客人，组成了一个临时团队，伪装出生意兴隆的假象。然而，他们很快发现，一个谎言需要更多的谎言来掩盖，局面逐渐失控，最终超出了他们的掌控。

*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.