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In the first segment, a doctor and drug smuggler stranded on a desert atoll discovers that he'll do anything to survive. In the second segment, a teenaged girl named Blake visits the "Circus of the Dead" with her family and discovers that the acts are all-too-real.yuanji.cc

克拉拉（Kelly Sheridan 配音）的生日即将到来，伊丽莎白阿姨（凯思林·巴尔 Kathleen Barr 配音）送了她一只胡桃夹子，没想到却意外的将克拉拉卷入了一段充满了魔幻的传奇故事中去。夜里，邪恶的老鼠王带领爪牙们企图入侵克拉拉家的客厅，英勇的胡桃夹子奋起抵抗，然而敌人实在是太过狡猾，老鼠王施法将克拉拉缩小。为了找到变回原来模样的方法，克拉拉和胡桃夹子踏上了旅途，他们要寻找的是神秘的糖果公主，她是唯一能够是一切恢复原状的存在。然而，糖果公主的行踪始终成谜，与此同时，克拉拉得知胡桃夹子本是英俊倜傥的王子，会变成如今的模样亦是遭到了老鼠王的诅咒，一路上，两颗善良的心渐渐靠近。

歌声飞出五指山 (1978)故事梗概黎族姑娘阿妹参军后，又被派回到家乡工作，她给阿哥写信时，一些往事又浮现在眼前：在旧社会，有一天，她随阿哥来到山上，在老阿公的帮助下打了一只豹子，阿妹见阿公的弓把上刻着一颗红五星，便问这五星的来历，阿公说这是红军送给他的宝贝，还告诉她，当年的红军就要打回来啦。阿妹唱盼望解放军的歌，被奥雅婆听到，说她唱反歌，命儿子符三打她。阿哥上前阻拦，奥雅婆大怒，与符三策划要将阿哥卖壮丁。此事恰巧被在奥雅婆家做苦工的阿妈听到，她赶忙叫儿子逃走。阿哥走后，奥雅婆烧了阿妹的家，又将阿妈毒打后仍进万泉河。阿妹被逼顶替阿妈做苦工，她还是不断地唱想念解放军的歌。奥雅婆要割她的舌头，阿妹极力反抗，结果被符三打晕后仍进深山。老阿公救起阿妹，指引她去找解放军。符三得到解放军要来黎寨的消息，急忙和奥雅婆一起逃跑，在路上与阿妹相遇，阿妹用石头砸死了奥雅婆，自己却被符三卡住脖子晕倒在地。当她醒来时，解放军已站在面前，符三被关押……。阿妹的思绪从往事中回到现实，她写信告诉阿哥，是党给了她金嗓子，她要永远把党的恩情歌唱。

*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.