爱情新呼吸粤语

*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.

小林芳狼是少年侦探团初代团长小林少年的曾孙。在芳狼面前，10年前行踪不明的怪人二十面相出现了。二十面相只留下一句“约定的时间近了”就离开了，二十面相所说的约定到底是什么意思？四处奔走的芳狼、明智小五郎的曾孙小夜和他的青梅竹马等个性丰富的成员们聚集，所有谜团互相缠绕，找到答案“少年侦探团”才能够复活。

电影《双生》讲述了艺术学校学生李品（刘昊然饰），在一次偶然的机遇下获得了一份为期一个月的兼职工作，工作内容是为马上迎来自己生日的女孩涛（陈都灵）画肖像画，为此他来到了一处偏僻的豪宅。素不相识的两位年轻人因此结缘，一段青春的邂逅就此展开，然而在朝夕相处的过程中，李品逐渐发现了这栋房子里似乎还隐藏着一些不为人知的秘密，而他与涛之间的关系也逐渐变得微妙起来。

那是昭和二十年的盛夏。在一望无际的太平洋海面上，两个鱼雷夹着一个空空的汽油筒在飘浮。油筒里坐的是一个憨厚老实的学生兵，绰号是“那家伙”。原来广岛发生原子弹爆炸事件后，“那家伙”就成了一名特攻队员。而特攻队员的任务就是带着两颗鱼雷去撞击敌方的军舰。在执行任务之前，上级给了他们一天的外出时间。“那家伙”走出了营门，并有意无意地闯进了女人窝。他与一个小姑娘彼此产生了好感，二人在一个防空洞里产生了肉体关系。就在这天晚上，小姑娘被敌方的空袭炸死，“那家伙”也奉命带着两颗鱼雷来到了太平洋上。这个时候日本已经宣布投降，“那家伙”却一点都不知道，还在一门心思想着执行任务，结果错把一艘尿处理船当成了敌方的航空母舰并发射了鱼雷。当他被尿处理船救起以后，才知道战争已经结束了。