众神的恶作剧1

NHKNHK纪录片sighコロナ下で、性産業に転じざるを得ない女性たちがいる。派遣やサービス業を解雇され、生きるために足を踏み入れるのだ。しかし性産業も不況の中、水面下で広がっているのが“パパ活”。専業主婦や元派遣社員が、パパ活をせざるを得ない実態も見えてきた。パパ活は一緒に食事やデートをして対価を受ける名目だが、実態は性的関係も伴い深刻な性被害の温床にもなっている。女性たちに、今どういう支援が求められているのか考える。

影片讲述了没赶上电影场次的张九声与刘闺女因一场电影结下了不解之缘的故事。故事灵感来源于张艺谋导演早期经历，是其一贯对文化展开追忆和寻根的风格。

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.(source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

母親一手拉扯著三個孩子，欲努力經營好亡夫留下的乾洗店，卻困難重重。電影以長女的視點帶出劇情，講述家庭的變遷。