爱情公寓剧照

影片讲述了抗美援朝战争时期，我国志愿军三排排长孟大关（任天野 饰）临危受命，带领小队前去解救被困敌后的侦察排，经历了一系列艰难险阻，三排与“杜神枪”杜川（李东学 饰）带领的侦察排成功汇合。为了避免大部队更大伤亡，孟大关与杜川在危急关头果断决定困死无法补充供给的敌方重炮营，一次次小规模战斗在这个无名水川暗暗展开……

银娣（夏文汐 饰）爱慕着药店伙计小刘，却最终拗不过长辈的安排，嫁给了乡绅姚家的二公子。成亲当晚，银娣才发现，这位二公子身患数种疾病，生活不能自理，然而木已成舟，银娣只得把怨恨和愤怒隐藏在心底，担负起了照顾丈夫的沉重负担。姚家三少爷（徐明 饰）生性轻浮多情，尽管已有妻室，但他仍旧常常勾引调戏银娣，银娣日子过得本就苦闷，三少爷成为了唯一能够带给她快乐的男人。银娣怀孕生下了儿子玉熹（马邵君 饰），就此在姚家站稳了脚跟，丈夫和婆婆去世之后，银娣的日子渐渐好过起来。银娣为儿子娶了媳妇芝寿（张盈真 饰），哪知道芝寿样貌丑陋，于是，银娣处处刁难折磨芝寿，最终令其染上重病含恨而亡。

*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.

早已过了而立之年的一子（安藤樱 饰）整天百无聊赖，她根本无心帮助打理自家的料理店，整日玩游戏虐杀小外甥。她的妹妹二三子（早织 饰）离婚后回到娘家，极度看不惯姐姐的作为，为此两姐妹甚至大打出手。自感不被家人所容的一子搬了出去，并在日常光顾的百元超市谋得收银员的职位。这间小 店云集着许多怪人，患有忧郁症的店长、话唠猥琐的同事、因盗窃被开除却还时常回来拿临过期食品的老太。在这些人中间，一子的心情愈加苦闷。偶然机缘，她和名不见经传的拳击手狩野（新井浩文 饰）走到一起，无奈他们之间甚至连爱情都谈不上。极度压抑之际一子选择学习拳击，她渴望释放心中的委屈和不满，渴望获得哪怕只有一次的认可。本片荣获2014年日本电影旬报十佳影片第八名。