电影女子大乱斗

*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.

中央委员长千老要前往香港进行私人访问，郑大姐（郑裕玲 饰）和阿胜（张坚庭 饰）受命事先前往香港准备安全工作，岂料二人的飞机故障，最终停在了台湾机场，郑大姐对台湾方面的接待严阵以待，但一番相处下来，终与负责招待的台湾警察蒋大勇（陈松勇 饰）建立了初步信任。赶到香港的郑大姐在香港政治部督察吕sir（黄秋生 饰）的协助下，一丝不苟对来港拜会老情人的千老的每个到访场所进行了安全布置，期间她认真又别扭的做派让吕sir忍俊不禁。千老到来的前夕，蒋大勇赶到香港，向郑、吕二人透露了有杀手要袭击千老的情报，于是来自三地的三人要合力保障千老的安全……

娟娟（关之琳 饰）是一名护士，一天，在下夜班回家的路上，娟娟遇到了丧心病狂的歹徒，惨遭强暴，出租车司机强哥（尔冬升 饰）成为了唯一的目击证人。不知所措的娟娟并没有选择报警，而是试图隐瞒。让她没有想到的是，不久之后，在医院里，娟娟竟然再一次与歹徒相遇，歹徒又一次玷污了娟娟。在反抗的过程中，娟娟杀死了其中的一名歹徒，而遭到了警方的逮捕。娟娟的同事阿文（夏文汐 饰）找到了出租车司机强哥，要强哥出庭作证，最终，娟娟被无罪释放。然而，事情并没有结束，被娟娟杀死的歹徒，他的哥哥是黑社会的老大，为了替弟弟报仇，阿文也惨遭强暴。

Jagged Mind is about a woman plagued by blackouts and strange visions that lead her to discover she’s stuck in a series of time loops, possibly related to her mysterious new girlfriend.