忽而今夏结局

어떠한 법도 상식도 통하지 않는극악무도한 범죄자들만 모인 죽음의 제3교도소.이들조차 쩔쩔매게 만든 전국구 보스 ‘이태식’이 입소하자새로운 권력의 시대가 열린다.머지않아 새로 부임한 교도소장 ‘조평호’는피도 눈물도 없는 악독함의 끝을 보여주며이태식과 비롯해 죄수들을 지독하게 옥죄기 시작하는데…

老狼炖了一大锅鲜美的鸡汤，请了他的好朋友狐狸和狗熊来作客。狡猾的狐狸先到了，馋嘴的他趁着老狼出外的时候偷偷的把一整锅鸡汤吃完了。眼看着老狼慢悠悠的走回来了，狐狸眼珠一转，计上心来。他摸了点鸡血到自己脸上，见了老狼就嚎啕大哭，说狗熊偷鸡吃时被他撞见，想杀人灭口。听了狐狸的 哭诉，老狼怒不可遏，提起刀子就找狗熊报仇去了。狐狸这时又抢先找到狗熊，楚楚可怜的说，老狼请客其实是个陷阱，他想把他们两都宰了吃。吓坏了的狗熊这时看到老狼提把刀子怒气冲冲赶来了，吓得转身就跑……

This film is about haunting memories of Asia's late 20th-century modernization. The story departs from a 1965 United States embargo on the hair trade, known as the "Communist Hair Ban". Yet, in every wig resides a ghost from the imperial past.Wigs were vital for the rise of the Asian economy in the post-war era. In the heyday of the 1960s, it was the number four export in Hong Kong's export-orientated industrialization. Between Mao's China - the largest source of hair supplies, and the insatiable Western market, Hong Kong functioned as the gateway. In 1965, U.S. Treasury Department imposed an embargo on "Asiatic hair", to cut off foreign currency to Communist China in the hair trade. The highly racialized category of "Asiatic hair" was later revised as "communist hair", to enable the wig industry to develop in U.S. allies including mainly South Korea and Japan, which led to a significant reconfiguration of light industry in East Asia. Departing from the moment of the communist hair ban, through stories of movement, diaspora and migration, this project examines the role of Hong Kong as a transient space that mediates and sanitizes the connection between different worlds, and the relationship between U.S. Imperialism and East Asia order in the Cold War era.Produced by: Ruoyao Jane YaoDirector of Photography: Yavuz Selim IslerCameraman (Hong Kong): Fai WanSound Recording: Franco van der LindeCasting Director: Sai-wang LauMakeup: Ika KartikaColor Grading: Bob LemmVoice-over:Jia Zhao, Hamza Junaid, Tommy TseCast:Zoenie Liwen Deng, Ruoyao Jane Yao, Zoe Tang, Michael de Ross, Sidney Vereycken, Sai-wang Lau, Jo-Lene OngProduced by:Geodesic Studio, Vines FilmsThanks toWAAG Society, Amsterdam16mm Film Transfer and ScanningAndec Filmtechnik, Berlin

羽仁进将本片定义为《初恋·地狱篇》有着强烈的指涉性，青春里所有的发生我们根本没有时间思考，没有时间去辨识我们获得的一切，所有的青春姿态都来自童年的境遇，神伊童年母亲的离家出走给了他很大的悲伤，导演以远方的烟囱和下坡的路径标记着他们生活里的相互远去，童年的种子在青春发芽，疯长的隔阂来源于童年所见识的母亲的背叛。