敬民在一场惊慌的战争中，在为北方俘虏，被关在收容所中，在仅存呼吸空间没有自由的俘虏收容所中，有南韩出生的海军少领、苏联留学生、前收容所长、被冠上反动份子的外交部长女儿银淑、银京和一位日本女人等，他们都K毅力生活着。在那里敬民巧遇小时的死党平山，他因失恋而选择越界远离伤心之地，来到北韩，成为政治部上尉，但他所爱的人却爱着敬民，愤怒的他竭尽所能的要击败敬民，并彻底让他崩溃。敬民在如此饱受艰苦的逆境中对世界仍然抱着无限的希望。2003年韩国公认最佳男主角车仁表挑战最血腥残酷的角色。荣获第十二届黄金拍摄奖金奖，特别奖，最佳导演，最佳照明，第三十九届柏林影展参赛作品。

*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.

青年司机安得乐接受了跑江南运蜜蜂的美差。货主是黄河北岸一个小山村里的姑娘槐花和她的叔婶。在大雁南飞的金秋季节，一辆黄河大卡车，载着蜂箱南下赶花。在数千里的途中，发生了许多意想不到的事。当蜂箱在村口装车的当儿，安得乐交给槐花叔一只大塑料桶，请他灌满蜜，槐花淑哭笑不得，只好推说塑料桶盛蜜不卫生，安得乐心中不快，一路上变着法儿告诉槐花一家人放聪明些，否则车会不听话的。途经小小饭店，槐花一家拿出一块钱来招待安得乐，在安得乐眼中，这一家人简直抠门儿到了极点。这时他收了一条过滤嘴香烟，同意一采购员搭车。当车拐进失修的公路时，车陷前轮，酿成了一场损车折蜂的事故。夜过悦来店，安得乐主动设宴，一来是为了挽回一点影响，二来是为了显示自己的大方，让槐花这家人开开眼界。酒过三巡，安得乐得意之极，当众嘲弄这个山村姑娘，槐花忍无可忍，和安得乐争论起来，宴席不欢而散。第二天路遇螃蟹贩子，安得乐原想得点儿外快，不料反被偷走钱包，轮胎也被扎坏，汽车无法开走，真是狼狈之极。聪明的槐花姑娘一声不吭地找到一片盛开的野花，她告诉安得乐有了花就有了蜜，卖了蜜就有钱补胎了，安得乐悬着的心才算放下来。安得乐想赶路，却被前面一辆慢车挡住，一急之下，他用柿子砸了驾驶这辆车的小司机，导致又一场风波。还是槐花姑娘帮助他解了围。雨中，小司机的车后轮陷入泥坑，安得乐冒雨相帮。因淋雨过久，安得乐病倒了。病中，他受到槐花一家细心照料。闲谈中，他才知道这家人外出"赶花"的车费还是乡亲们凑的，他的心深深为这家人真挚的感情所打动。安得乐终于把槐花一家送到了江南放蜂地。离别之际，槐花一家竟依依不舍，槐花姑娘把自己在养蜂学习班得到的奖品送给了这个年轻司机作为纪念。勉励要做辛勤的小蜜蜂，为社会酿造甜密的生活；并约定来年槐花盛开的时候再相会。

抗战胜利后，建筑工程师丁建华（石羽饰）偕妻漱兰（路明饰）返回上海，暂居远亲龚某（蓝马饰）家。龚原系包工头，沦陷期间曾以物资资敌而致富，胜利后以五百根金条买得“地下工作者”身份，得以逍遥法外。时漱兰将分娩，丁母（王苹饰）卧病不起，丁多方奔走，仍找不到工作和住房。不久，漱兰生一男孩，因无力抚养，准备送往孤儿院。龚某因无后，愿将婴儿收留抚养。龚妻（上官云珠饰）对婴儿任意虐待，漱兰不忍，龚妻又将婴儿掷还漱兰。建华夫妇遂迁出龚宅，寄居一巨厦檐下。一天，建华发现巨厦为自己当年设计建造。拾阶至顶，念在己身为建筑师，竟无栖身之所，悲愤欲绝，忽闻楼下喧哗声，缘门警正驱逐漱兰，丁气极失足坠楼，待众人抢救，已奄奄一息。警察拾其遗落皮包，见建筑工程师证件，众皆摇首叹息。