麻花传MD0174苏畅

33岁还未结婚的香港女警司徒慕莲（郑秀文饰）一直为自己的婚事发愁。男友十年前的承诺，现在成了她与同事间的笑谈。一日，走私集团的头领霍青松（陈奕迅饰）的儿子被绑架，司徒慕莲奉命处理这宗案件。但霍青松一家为避免因走私之事被警方控告，处处表现出不合作的态度，而此时司徒慕莲发现自己有了身孕。黑白两道在一间大屋下貌和神离，霍家上下各自心怀暗计，同时，大陆警方也传来了联合破案的消息。作为“剩女”的司徒慕莲、作为警察的司徒慕莲，她到底能否解决眼前面对的一切？

弗兰喜欢考虑死。当她让办公室里的一个男人发笑时，他想要更多——一个电影约会，一块馅饼，一次谈话。但是如果和他约会意味着要学会生活，她很肯定她不能那样做。

*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.

赵书信（刘子枫 饰）是某矿山公司的工程师，为人忠厚，工作勤勉。下棋是赵书信为数不多的爱好之一，他对自己那副棋子也格外珍惜，却于一次出差归来时发现丢失了一枚，情急之下冒雨前往邮局，发了一封“黑炮丢失301找赵”的电报给旅馆，寻找棋子。岂料这封电报招致邮局方面的怀疑，上报 公安局立案侦查，上升成了所谓的“黑炮事件”。 受此事件影响，赵书信被调离原来岗位，更阻止其参与正在进行的德国合作项目。公司将精通德语的专家赵书信换成了旅游翻译冯良才，工程进度和质量受到重大影响。不久，邮局送来一个寄给赵书信的邮包，矿山公司高层领导秘密将其打开，发现里面竟是一颗棋子…… 电影《黑炮事件》获广播电影电视部优秀故事片奖 、第6届中国电影金鸡奖最佳男演员奖（刘子枫）。