十月初五的月光国语

年轻貌美的奈美子跟拈花野草的丈夫离婚后，改嫁富有的花甲老翁庆太郎然而她一直心系前夫的幼弟江村。二人定期幽会，但奸情却接二连三被撞破。修读人类学的江村迎娶了大学教授的女儿，一心想当上副教授。为了自己辛苦建立的名声和前途，江村决心与奈美子一刀两断。他想到要把痴缠的奈美子推下悬崖……本片改编自著名作家松本清张作品，有着极出色的刻划，比美《砂之器》。

属于“niconico人生中心”宗教团体的三人互相称呼对方为接线员、副议长、议长，共同生活在孤岛上。他们作为前往安居之地的修行，一边执行冥想、做过的梦的报告、心灵感应实验等发送邮件指令，一边用少量的食物勉强维持着生活。这一切都是为了净化性欲、过度的食欲、物欲等俗世的污秽，向“安居之地”出发的修行。但是，与饥饿的斗争，突然出现的入侵者，仅仅是一点点的破绽，三人的本能和欲望渐渐被暴露出来。

以一名少年的成长物语为主线，聚焦现今日本社会的孤独。

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.