电视剧《归路》

在赌城盗窃案三年之后，重归于好的丹尼（乔治-克鲁尼饰 George Clooney 饰）与泰丝（朱莉娅·罗伯茨 Julia Roberts 饰）二人的闲适生活戛然而止，因为赌场大亨班奈狄（安迪?加西亚 Andy Garcia 饰）突然将丹尼和十名同伙全部找到，并限定他们在两周内筹钱，连本带利偿还他当年被盗的一亿六千万。罗斯（布拉德?皮特 Brad Pitt 饰）、莱纳斯（马特·达蒙 Matt Damon 饰）等人齐聚，他们因无力偿还只得选择前往欧洲作案。然而丹尼等人的欧洲之行困难重重，法国神偷“夜狐”（文森特·卡索 Vincent Cassel 饰）在暗中作梗，罗斯的前任警探女友伊莎贝（凯瑟琳·泽塔-琼斯 Catherine Zeta-Jones 饰）则率警方严密盯防他们。这次，丹尼的团伙还能顺利脱身么？

*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.

远离城市喧嚣的郊外古屋，住着一户七口人家。这家的母亲（Ayu Laksmi 饰）年轻时曾是小有名气的歌手，但是随着年岁增长，加上疾病缠身，母亲的风光不再，一家人的生活也陷入了窘境。常年卧病的母亲发不出声音，只能通过摇铃呼唤家人。而她憔悴的面孔上，又经常浮现恐惧的面容。长女里妮（塔拉·巴斯罗 Tara Basro 饰）在一次离奇的噩梦后，见证了母亲的死亡。早已身心疲惫的一家人，看起来似乎正一点点从痛苦和阴影中走出，可是从母亲下葬后的那天起，熟悉的铃声便再度回荡房屋之内，而各种恐怖的灵异事件也交替发生。死去母亲的秘密，在漫漫长夜的煎熬中悄然浮现……

侯孝贤电影社1995年纪录片作品。直面国民党当局迁台后台湾在上世纪五十年代遭遇的长期白色恐怖之真相，通过寻访政治迫害受难者记录不幸遭遇的口述历史。同年侯孝贤执导的《好男好女》中的革命者蒋碧玉，正是本片片名的来源与引导者。所不同的是，年轻的声音是戏里戏外的花花世界，而苍老的声音则是残酷冰冷的历史现实。当黑暗将要退却而黎明已在遥远的天边唱起嘹亮的凯歌我们为什么不歌唱当严冬将要完尽而人们所向往的春天被封锁在冰霜的下面我们为什么不歌唱当锁链还锁住我们的手足鲜血在淋流而自由就在窗外向我们招手我们为什么不歌唱当悲伤的昨日将要死去欢笑的明天已向我们走来而人们说你们不应该哭泣我们为什么不歌唱