像傻瓜一样去爱阿朵

*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.

罗伯特（威廉·霍尔登 William Holden 饰）是一位名不见经传的小画家，为了寻求绘画灵感，他远渡重洋，来到了充满异域风情的香港，希望能够在那里潜心作画，施展自己在艺术上的抱负。一次偶然中，罗伯特遇见了名为苏丝（关南施 Nancy Kwan 饰）的女子，后者的美丽和神秘一下子就吸引了罗伯特的注意，没过多久，罗伯特就陷入了疯狂的爱恋中无法自拔。让罗伯特没有想到的是，苏丝的真实身份竟然是在酒店拉客的交际花，然而，他并没有因此而厌恶苏丝，反而更为她坎坷的身世和复杂的内心世界所倾倒。与此同时，银行家的女儿凯（西尔维亚·萨姆丝 Sylvia Syms 饰）亦对罗伯特芳心暗许，面对如此情形，罗伯特会做出怎样的选择呢？

《风云决》（Storm Rider-Clash of Evils），改编自香港漫画家马荣成的漫画名作《风云》，制作历时5年。该动画由于其精湛的2D+3D制作水品和题材方面的突破获得了国内外的好评，至今仍为中国大陆公认的制作水品最高的2D+3D电影动画。步惊云（谢霆锋 配音）、聂风（任贤齐 配音）为报杀父深仇，合力斩杀火麒麟，吞下麒麟血，不惜以入魔为代价，将杀父仇人雄霸联手铲除。但聂风无法控制体内魔性，失手将云打落山崖……拜剑山庄为天下第一铸剑山庄，却被朝廷诬陷谋反而惨遭灭门。少庄主傲决（童自荣 配音）死里逃生，独自隐居西域，伺机复仇。当决得知风、云二人身负麒麟血，可为其祖传旷世神剑开封，遂开始苦苦寻觅两人踪影……其时，风、云各自有了心爱之人，过着远离江湖的平淡日子。然而，决的到来，注定将掀起一场血雨腥风……

尤胡芦（周传铮 饰）乃无锡城内一屠夫，借得铜钱十五贯纳婢，却不料召来杀身之祸。当夜，城内混混娄阿鼠（王传淞 饰）潜入尤家，杀人越货，昧钱而去。次日清晨，作案现场被邻人发现，家中婢女苏戍娟（李倩影 饰）也不见了踪影，一干众人分头报官并追赶凶手。客商熊友兰（徐冠春 饰）携铜钱十五贯赴常州城货栈办货，路遇逃出尤家的苏戍娟，二人结伴同行。娄阿鼠假意领差役捉凶，巧遇熊、苏二人，娄贼喊捉贼，诬陷熊友兰是凶手，差役发现熊所带铜钱正好十五贯，顺水推舟，解押二人到县衙。县令过于执（朱国梁 饰）办案草率，轻信奸人谗言......