安东尼.马库斯

每天驾著的士，过著自己的穷困生活。对她而言，毒品就似乎是唯一可令她消除疲劳的方法。而她的生存目的亦祗是希望能再次见到自己的女儿。她原是专偷金库的神偷，自从放弃神偷生涯后一直被黑帮以债务来追赶，令她活在黑暗中。但是，一个人的到临，却改变了Kyung-seon的命运，那个人就是Soo-jin。Soo-jin原是拳击擂台上的选手，而她本身亦是歌手一名。她的笑容、眼泪和处事手法更有自己的风格。她从来祗会戴著太阳眼镜去看这个灰暗的世界，祗因她是地下斗狗场老板Dok-bul的女人。Dok-bul也曾是一名拳手，更是一个极为狡猾的男人。地下斗狗场本是一个充满权力、金钱和情欲的无情世界。场内场外也是如此。Kyung-seon和Soo-jin这两名天涯沦落人相遇后，决定要忘掉各自过去的伤痛。为了自己的人生，两人更以无血无泪的态度去面对这个地下斗狗场，角力一番……

*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.

故事发生在解放前的西南边陲，深山野岭的蜿蜒小道上，迎来两个衣冠楚楚的年轻人。他们是警察局派来的密探齐远静和周洛，此行化妆成商人来摸清一伙狡猾土匪的虚实。暮色将至，二人一路辗转来到僻静的紫云道观投宿。道观当家守敬将二人映入其中，心思缜密的齐远静却接连发现了道观内部的可疑之处。对于齐所提出的疑问，道长闪烁其词。未过多久，他们在附近的阁楼上看到了恐怖鬼影，据小道士叙述，两百年前这里曾经发生过惨烈的战争，所以每当下雨天就会有鬼出来游荡。并不信邪的齐远静悄然展开调查，最终发现了不为人知的可怕秘密……

炎热的海南省，热爱射击但枪法奇差的大型装潢公司老板陈总（陈佩斯 饰）刁难射击馆的美丽女教练于林（徐琳 饰），于林不屈不挠，虽挫败陈总的锐气，却也令自己丢掉饭碗。在此之后，新型建材专业出身的于林成功应聘陈总公司的工程师职务，由于该公司仅招收未婚单身女性，于林只得隐瞒育有一个11岁儿子于同（叶静 饰）的事实。而年近四十的陈总对于林甚有好感，当他好不容易按打听来的地址来到于林家拜访时，却把于同当作她的弟弟，于同则将其错认为修马桶的师傅，两人很快成为了好朋友。认真执拗的于林对待工作极其负责，而她的作法也得到陈总的支持。当然若想修成正果，他们的道路还很漫长……