欲蛇国语

本片是1972年电影的重拍片，原版是表现大盗道克·麦科伊本着一诺千金和言必信、行必果的职业行规闯荡江湖的不凡经历。1994年这个新版本中，突出了大盗的妻子卡罗尔的戏份，她不再是丈夫的附庸，更是一个舞枪弄棒的同案犯。为了不让丈夫坐牢，她可以不惜一切代价。例如，她得知这次承办的抢劫案难度极大，但由于条件是道克可以免去牢狱之灾，因此她决定知难而上。但是，当钱抢到手之后她才发觉，真正的风险并不在于抢劫行动，而在于从逃离现场那一刻开始……

这是一部以宗教为题材的影片。顺女自小生活在一个缺少温暖的家庭里，这造成她的性格极为孤僻，虽然过早就坠入情网，但又饱尝失恋的痛苦。为摆脱尘世的苦恼，她毅然循入空门，希望能在此修身养性，然而她又一次一次地违犯了佛家戒规，终被赶出佛门。她最后孤伶伶地漂落到了一个小岛上，在这个小岛上，她用自己所学的医术给当地人看病，但另一方面，她又不能控制肉体的欲求，不断地出卖着肉体。她的困惑与烦恼最终也未能从她所信奉的宗教中找到答案。

*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.

专栏作家吴秋月（陈慧琳 饰）笔锋一向泼辣，并以专栏《月经》闻名。因为一张怀旧的黑胶唱片与电台DJ章戎结怨。章戎专门在电台聆听听众的感情烦恼事。接着二人有了更多的见面机会，可是每次都是斗气收场，水火不容。但不过多久的相处，两人却互有了好感，很快陷入了热恋。秋月的前男友此时想要回到秋月的身边，并向求婚及提出移民的要求。秋月收拾好了行李做好了准备，可是心里却始终不知如何是好，心里还是放不下章戎。