快感职人

14岁那年，美丽可爱的女孩小泽理央（佐佐木希 饰）经历了人生前所未有的变故，在此之后她自甘堕落，和相熟好友们依靠援交和诈骗聚敛金钱，光鲜亮丽的外表下，掩饰不住内心莫名的绝望与空虚。一个意外，让理央邂逅了和自己同姓的大学教师小泽光辉（谷原章介 饰）。光辉那英俊正直又略显呆板木讷的外表和气质刹那间攫住了理央的心。她被阴云笼罩的灵魂仿佛被光辉发自内心的灿烂光芒驱散，她渐渐喜欢上这个大男孩。然而光辉始终无法全心全意投入恋情，因为数年之前，他已被诊断患有恶性肿瘤，留在人间的时间所剩无几……本片根据同名手机网络小说改编。

零零恭、零零喜、零零发（周星驰 饰）、零零财是宫廷四大高手，专职保卫皇帝（张达明 饰）的安全。虽号称四大高手之一，零零发实际上只会搞些小发明完全不会武功，某次因为未完成皇帝交办的捉拿江湖四大怪杰的任务，他被开除出宫。回家后，零零发开了一家妇科诊所，时常会用一些小发明讨得老婆（刘嘉玲 饰）心花怒放，日子也算怡然自乐。 金国以“天外飞仙”尸体为由将皇帝从宫中骗出，并伺机杀死了紧跟皇帝的三大高手，关键时刻，零零发用他发明的“直升机”和“机关枪”救皇帝一命。不死心的敌手随后派来名妓琴操（李若彤 饰）引诱零零发，零零发与老婆将计就计演起双簧。

《今天，天空很藍》人生劇展三部曲簡介作者：導演/林冠慧之一《親愛的某某先生》『親愛的某某先生，你到底是什麼樣子的人呢？』一封沒有寄送對象的信，連結了兩個身處不同時代、不同國籍背景，但卻同樣寂寞的心靈。來自日本、九歲的影山皓汰，因為一堂作文課的練習，寫了一封給“親愛的某某先生”的信，被討厭的班上同學惡作劇寄了出去。沒想到，“親愛的某某先生”竟然回信了。對皓汰來說，這個原本令他有點害怕又陌生的異國都市裡，因為有著這位神祕朋友的存在，變得可愛又有趣。更不可思議的是，為什麼某某先生總是知道皓汰的一舉一動呢？他開始懷疑起身邊的人…皓汰到底能不能順利見到“親愛的某某先生”呢？之二《童話故事》作者：導演/許富翔紹宇最大的願望：希望爸爸能夠再一次從門口衝進來，帶著他一起去冒險。發狂似的蟬叫聲和老師的斥責混在一起根本進不了紹宇的耳朵，紹宇始終低頭不語，走廊外傳來阿暉的叫聲：「紹宇！！」紹宇似乎醒了似的轉頭，看見阿暉滿頭大汗就站在門口。走廊上，阿暉和紹宇的手緊緊握在一起，開心的跑著，也開啟這趟仲夏旅程。途中，兩人遇到了奇怪的釣客和泳客，而彷彿永不日落的豔陽和海風是兩人所僅有的，時間似乎永遠凝結在這一個夏天。直到一個星期前，紹宇再度回到學校，而陪在身旁的不再是爸爸……之三《曬棉被的好天氣》作者：導演/蔡宗翰窗外射進和煦的陽光，照在凌亂的男生房間裡，被子好像有點髒了，聞起來臭臭的，應該拿去洗一洗，然後拿到頂樓去曬。阿媽的生活裡沒什麼非做不可的事情，買菜、煮飯、整理房子，等兩個孫子回來吃飯。哥哥忙著國家考試，整個人的信心和價值都建立在上面。弟弟剛上大學，忙著嘗試外面各種新鮮好玩的事情和泡馬子。一個屋簷下大家各忙各的，但是阿媽好像會守在家裡。那天，阿媽收到了外孫女寄來的喜帖，星期六要在台中喝喜酒。吃飯、睡覺和結婚生小孩都是人生大事，一定要去，阿媽一整個禮拜都在為了吃喜酒的那一天做準備，把自己打扮的漂漂亮亮的，而且剛好有個理由找孫子陪他一起出門去......

*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.