关东大先生

单亲爸爸为了谋生，每天加班在工地灭虫，受尽剥削，积劳成疾。敦促儿子练出强壮体魄，在适者生存的城市才有立足之地。儿子却面临校园欺凌，感觉跟父亲关系也愈来愈疏离，唯有在当兵的日子，置身丛林，他似乎更能掌握自己命运。新加坡导演姚志卫首部长片，刻划新加坡移民劳工生存困境，灭虫场景恍如人间炼狱。花谢落土不再回，祖母辈爱听的《雨夜花》，抒发乡愁也慨叹辛酸。遇见传说吃梦维生的马来貘，是否就能逃离噩梦？入选柏林新世代单元。

台湾女作家许若卿（林心如 饰）为了与情人赵亦堂（吴镇宇 饰）生活在一起而迁居内地，临走前母亲（金燕玲 饰）给了她祖上留下来的老宅钥匙，于是若卿带着女儿小梦（张煜雯 饰）住进了传说中的凶宅——朝内81号。亦堂的妻子（夏文汐 饰）不肯离婚，加上他常因工作与秘书琉璃（莫小棋 饰）在一起，这让若卿心神不宁。诺大的宅子除了一名老佣人（袁祥仁 饰）便无他人，可是小梦却说自己常与一个红衣小姐姐玩耍，大胆的若卿想要一探究竟，却意外发现了宅子的尘封往事。原来这一切与老宅原来的主人霍家三兄弟息息相关，霍家三少爷霍连奇（杨佑宁 饰）一心想娶青楼头牌陆蝶玉为妻，陆蝶玉却阴差阳错与二少爷（李菁 饰）进行了冥婚，这一场闹剧直接导致了日后霍家的全面衰败……而现实中若卿愈发地感觉到了宅子的超自然力量。本片改编自民间传说的四大凶宅之首“朝内81号”的诡异故事。

英国泰晤士小镇，阳光青年陈家乐（洪天照 饰）在这里求学、打工。他的父亲陈天来（洪金宝 饰）是南拳——蔡李佛拳的传人之一，不仅在家乡开设拳馆，更将这门优秀的传统武术传播到世界各地。理所当然，家乐也得到父亲的一些真传，并因此结识了同样热爱武术的日本青年武田少佐（小杉健 饰）。某天早上，一伙混混大闹家乐和武田打工的餐馆，二人出手阻止，结果反遭老板解雇。此后不久，家乐接受父亲的建议启程回国，武田则出于对蔡李佛拳的向往随同来到中国。与此同时，陈家那间历史悠久却其貌不扬的拳馆正面临一场考验，财大气粗的泛美集团意图收购拳馆，作为传人之一的家乐将如何抉择……

*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.