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不是冤家不聚头，刘元（葛优 饰）和李清（徐帆 饰）正应了这句话。他们在美国初遇，那时候，李清刚到美国，替一个台湾朋友看屋，就碰上了接待中国剧组的刘元。几番来回，二人有了些粗浅的了解。刘元给了李清一张机票，劝她回国，前途会比这里好。李清却留在了美国，一年后还碰巧和刘元的车撞上了。机缘巧合，刘元让李清到他的旅行社工作，怎料旅行社搞非法移民的勾当，李清一身麻烦，一气之下叫刘元以后再也别联系自己。想不到，一年后他们重遇，又一起办起了补习班。两人就这样反复的重聚分开。直到老去的某天，才有了一个契机，让他们互诉衷情。

1980年代，皖南山区。靠勤劳致富的冒富大叔（张雁 饰）最近被人频频“揩油”，内心很是不爽。公社李主任接连借了两次钱，亲家庆亮（仲星火 饰）也趁火打劫，编造借囗张嘴要钱，并唆使冒富报假案，谎称被人偷了钱。同村的冒尖户秋生（虞桂春 饰）看到冒富的遭遇，有钱不敢存银行，将钱偷偷埋在莱地里，却不料被人窃走。冒富由于报假案唯恐事发，央求民兵营长（方舟波 饰）不要再查，可干部们不答应。冒富发现庆亮用骗自己的钱卖票放电视赚钱，一气之下抢回了彩电。上级领导了解情况后，决心刹一刹“吃富户”的歪风，责令村社干部凡用各种借囗从冒尖户手中拿过钱的限期返还......

电影讲述了一位渔船出现问题的朝鲜渔夫越过国境线到了韩国的故事。片中的渔夫哲友（音）被韩国政府抓住，面对韩国的调查官，他已经筋疲力尽，心中顾念着在朝鲜的家人，只道出了想要回家的愿望。他被调查官用许多方法折磨。韩国的调查人员真友（音）是唯一一位对渔夫真诚相待的人。

*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.