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*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.

玛丽埃特（凯·弗朗西斯 Kay Francis 饰）是个腰缠万贯作风轻浮的漂亮寡妇，经营着一间公司。一次偶然中，她和一个名叫里瓦尔（赫伯特·马歇尔 Herbert Marshall 饰）的男人相识了。里瓦尔英俊潇洒风流倜傥，玛丽埃特很快就被他的魅力所征服，雇佣他成为了自 己的私人秘书，这正是里瓦尔所梦寐以求的。原来，里瓦尔系化名，这个风度翩翩的男人的真实身份是一名国际大盗，他和曾经的情人莉莉（米利亚姆·霍普金斯 Miriam Hopkins 饰）联手，企图将玛丽埃特的财产据为己有。公司董事长阿道夫（C·奥布雷·史密斯 C. Aubrey Smith 饰）察觉了里瓦尔的阴谋并告诉了玛丽埃特，可玛丽埃特并不相信他的忠告，里瓦尔的阴谋眼看就要得逞。

故事发生在法国著名的度假胜地里维拉，迪克（杰森·罗巴兹 Jason Robards 饰）和妻子尼克尔（珍妮弗·琼斯 Jennifer Jones 饰）带着孩子们正在这里享受美好的假日时光。彼时正值美国国庆日，迪克决定举办盛大的晚宴来与国同庆。宴会当晚，各路名流汇聚于此，其中就有年轻英俊的军人汤姆（西萨尔·达诺瓦 Cesare Danova 饰），汤姆一直觊觎着尼克尔的美貌和财富。与此相对的，性感美艳的罗斯玛丽（吉尔·圣约翰 Jill St. John 饰）一直对迪克暗送秋波，借着酒劲两人共舞了一曲，这一幕不巧被尼克尔看在眼底，引得她醋意大发。曾经，迪克是一名精神科医生，而尼克尔则是他的病人。和尼克尔结婚之后，迪克便放弃了自己的职业理想，整日沉迷于纸醉金迷的享受之中。

Overlooked by history, Pauli Murray was a legal trailblazer whose ideas influenced RBG’s fight for gender equality and Thurgood Marshall’s landmark civil rights arguments. Featuring never-before-seen footage and audio recordings, a portrait of Murray’s impact as a non-binary Black luminary: lawyer, activist, poet, and priest who transformed our world.