beautylegsara

*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.

为免日后回想过往时后悔，大学即将毕业的明相（东明相）请假只身骑上脚踏车，开始了以高雄为起点的逆风向的环岛旅行。明相一路所遇，除了各地美不胜收的风景，还有形形色色的人：想借助影像制造梦想的工作者，正一心一意地将太平洋的风捕捉入镜；来自立陶宛的年轻女模特，在花莲的海边告诉他她的国家没有山；即将退休的小学女教师，向他讲述自己恋恋不舍的心情；导游兼司机的陌生人（吴念真）一边和他分享盒饭，一边告诉他眼前这群下岗女工的生活……而更重要的，是通过与这些的人的短暂接触和所吃的无数苦头，明相对生命有了更深一层的认识，他知晓了属于自己的生命练习曲，才刚刚开始。

史密斯夫妇一直相互关爱着彼此，两人互相尊重并忠于爱情。一天，一个政府官员找到了史 密斯，告诉他由于登记地域的原因，他们的婚姻不合法。史密斯先生隐瞒了这件事。但他并不知道政府官员同样找到了他的妻子并告诉了她。所以问题就发生了……阿尔弗雷德·希区柯克影片之一，讲述了一对恩爱夫妻因为“意外”所导致的“不幸故事”。

十二位導演教你重新認識你還可愛的十二齣短片李嘉誠基金會「香港仁 愛香港」公益行動繼「Love Ideas, Love HK集思公益計劃」、「人間有情」香港寧養服務計劃與「寧舍」後，夥拍選址於天水圍的社會企業〈天比高創作伙伴賽馬會策動創新思維〉共同策劃《你還可愛麼》系列，邀請十二位香港導演炮製十二套不一樣的創意短片，展現嶄新感動方程式以喚醒香港人的無限愛心。是次參與的導演計有杜汶澤、卓韻芝、張經緯、郭子健、麥曦茵、麥婉欣、黃精甫、秦小珍、崔允信、曾翠珊、梁碧芝及盧鎮業，演出的演員包括農夫、泰迪羅賓、林雪、鄒凱光、邵音音、林二汶和尹光等，製作團隊成員則包括音樂人陳奐仁、唱片騎師 DJ Tommy及陳輝陽等等。《你還可愛麼》十二位導演以獨有的社會觸覺與電影風格，訴說十二個香港故事，題材涉及關心社會、關懷社區、關愛長者、積極抗病、家庭和睦、環境保護、跨代共融、公德守禮、助人為樂、尋找理想、急促生活以及人際關係等。《你還可愛麼》同時提供機會讓天比高的年輕人參與錄像製作和工作坊，與導演們互動切磋，讓年輕人可從多位導演與專業製作團隊的指導下，踏進創意工業的實戰場地，提升各類型的創作技巧，合力推動青春創意，與一眾電影「仁」以行動關愛香港。「香港仁 愛香港」去年九月推出，旨在透過集結科技、公益和社區觸覺的力量，推展嶄新的互動公益概念，一同建設大家心目中理想的香港。