系列第三部 最终话 Netflix大门开启，黄金的刻印切裂星球。21世纪初，被哥斯拉夺走了地球的人类，将一部分人类送往其他恒星系移居，但这一计划以失败告终。失意地回到地球的人类，面对的是两万年后巨变的地球。一切动植物都拥有哥斯拉细胞，化作“怪兽行星”的地球。君临于此的，是身高超过300m的史上最大哥斯拉“哥斯拉·地球”。燃起讨伐哥斯拉执念的主人公晴男，与人类的子孙种族弗图亚相遇。晴男等人在弗图亚双子姐妹玛伊娜和米亚娜的引导下，发现仍在持续增殖的对哥斯拉决战兵器·机械哥斯拉的残骸。他们使用构成残骸的纳米金属，令武装要塞都市“机械哥斯拉都市”启动，向“哥斯拉·地球”发起挑战。在这一作战的过程中，之前曾经一同共存的异星人种族之一比尔沙尔德与人类之间的裂痕逐渐表面化。与比尔沙尔德首领·加尔格的“若要打倒哥斯拉，就要成为超越‘人’的存在”这一信念相对，晴男无法放弃“不可为了打倒怪兽而使自己也变成怪兽，应该作为‘人’将其战胜”这一信念。终于，晴男舍弃了打倒“哥斯拉·地球”的唯一机会，将加尔格杀死。另一方面，晴男的青梅竹马优子也由于比尔沙尔德进行的人体强制纳米金属化，而陷入脑死状态。败北感和虚无感在人类之间扩散。另一方的异星人，宗教种族埃克西弗的大司教·梅特菲斯，将晴男从战斗中存活下来之事主张为“奇迹”，并借此增加信徒。这是为了达成埃克西弗隐藏起来的“终极目的”。米亚娜和玛伊娜警戒着这样的埃克西弗。此外，晴男也自问自己身为“人”应该去做什么。不久，在没人能打倒“哥斯拉·地球”的地球上，覆盖着金色闪光的“基多拉”降临，震天动地的超次元战斗开始了。“哥斯拉”是什么？“人”应该去做的事情是什么？晴男眼中的未来又是——。最终章中，一切都将明了。

故事发生在民国时期，爱秀（何琳 饰）嫁给了农民阿祥，之后给他生了一个儿子，一家人面朝黄土背朝天，日子过得十分辛苦，屋漏偏逢连夜雨，儿子患上了不治之症缠绵病榻，给这个家庭带来了沉重的打击。无奈之下，阿祥竟将妻子爱秀“当”给了大户人家李家三年，李家太太无法生育，爱秀的任务就是替李太太给李家传宗接代。屈辱和痛苦之中，爱秀怀上了李家的后代，但当她把孩子生下来之后，她在李家的境遇一落千丈，不仅日日受到白眼冷待，更被要求做各种粗活重活。爱秀和阿祥偷偷见面，被李老爷知道了，李老爷明白爱秀对丈夫和孩子割舍不下，于是解除了原先的约定，就这样，爱秀在李家从一个生育工具变味了佣人。

*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.

這是一部關於台客兄弟情的紀錄片，也是一則關於人生如何成長、如何失落、如何面對自我的紀錄片。在橫跨十年的拍攝時間裡，導演以戲謔、黑色幽默的方式描述每位主角不同的際遇，生命的厚度在影片裡悄悄地展現著。導演黃信堯這麼說：「在拍攝他們的同時，我覺得也藉此找尋自我，不能說是人生的答案，而是人生的方向。」