爸爸的胬肉

小沼真实（门胁麦 饰）曾经也是一个活泼开朗的女孩，但现如今，她成为大门不出二门不迈的家里蹲已经五年之久了。在这五年里，足不出户的真实一直都靠着临摹喜欢的插画作品来排解压力逃避现实。在父亲的介绍之下，真实终于鼓起勇气进入了一家游戏公司上班。然而，毫无社会经验的真实在工作中漏洞百出，做出来的游戏全是漏洞，本以为要被骂的她，却意外的得到了同事矢部辽太郎（三浦贵大 饰）的认可。辽太郎认为真实拥有绘画的天赋，在他的建议和鼓励之下，真实成为了游戏原画师，并且开始尝试不再模仿，去创造属于自己的独一无二的角色。

A variety of fanciful innovations in "future" T.V. sets, including a model with a built-in stove, and a number of highly interactive models. And of course, even with dozens of channels, there's nothing on...or more accurately, there's nothing but the same Western.

The Deserted Archipelago was my first independently directed and produced film. The film won the Grand Prix at the Nyon International Film Festival and garnered considerable attention both overseas and in Japan. The film follows an extremely simple story of a plain boy who matures into manhood while constantly manipulated by nuns. But woven into this narrative are my own experiences and the history of postwar Japan as well as a series of fantasies. The result is a multifaceted and multilayered objet, the birth of a newly sur-realistic filmmaking. On August 15th, the day the war ended, I was in the third year of primary school. That day, when the reality that I had known turned completely upside down, I was saddled with the trauma of no longer being able to believe in anything. Searching here and there for some kind of spiritual salvation, I finally found the existentialism of Albert Camus. From there, I was able to build up my own kind of existentialism and this film is best understood as based in that “Kanai Katsu Existentialism.” The film was praised by European film scholars Max Tessier and Tony Rayns and was screened as part of “Eiga: 25 Years of Japanese Film,” a special program at the 1984 Edinburgh International Film Festival.

中国电影制片厂出品，摄影：吴蔚云，陈继光。日本侵占东三省时期，意大利人范斯伯因家人被日本人威胁只好屈服于日军。日本特务机关命令他和伙伴老阴炸毁苏联运送大豆的火车，范斯伯在深夜把这个消息告诉了义勇军杜军，义勇军靠这个消息截获了炸药并炸毁了日军的兵车。日军为了反击又绑架了住在哈尔滨的犹太人卡斯布，想向其敲诈钱财，卡斯布不肯屈服，日本军就残忍杀死了卡斯布的小儿子。范斯伯向法庭提供了绑架案的证据，但是法庭却宣布参与绑架的日军无罪，老阴在范斯伯的鼓励下加入了义勇军，日军为了报复想秘密处死范斯伯，得到消息后范斯伯逃离了哈尔滨。