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舞台は、大阪・難波にある高速バスのターミナル。全国各地に手頃な値段で行けるとあって、春はいろんな人が利用する。緊急事態宣言が解除され、久しぶりに帰省する人。高速バスで遠距離恋愛を育み、結婚するという女性。福岡に就職が決まり、離ればなれの生活が始まる親子もいる。コロナ禍にあっても、就職や進学などで旅立ちを迎える人たち。今、どんな一歩を踏み出そうとしているのか。３日間、耳を傾ける。

敕使河原宏拍摄的关于父亲勅使河原苍风插花/装置艺术的纪录片。

Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007Author: TimothyFarrell from Worcester, MA"Wild in the Streets" comes from the same school of film making that spawned other attempts to connect to the counterculture such as "Skidoo" and "Candy". The difference between this and the aforementioned films is that "Wild in the Streets" is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike "The Trip" and "Psych-Out" (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire.The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of "grooviness". The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). "Wild in the Streets" isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch "The Trip" or "Psych-Out" however. (6/10)-from imdb

讲述两个30多岁、有自毁倾向的美国人Mickey和Chloe住在雅典，发展出了海啸般的恋爱：Chloe在希腊的时光本已到了尾声，她该回到美国继续自己有远大前程的工作，但她决定放弃，想要探索一个周末的热情是否会随着不可避免的周一到来而消退。