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昨年の「ゴジラ・フェス オンライン2020」で発表され、大好評だった新規特撮『ゴジラ ゴジラ・フェスに現る』の第2弾。中川和博監督が手掛ける「ゴジラ・フェス 2021」の完全新作の特撮タイトルは『ゴジラVSヘドラ』！！また、オープニング、エンディングの映像を、8月に行われた東京オリンピック閉会式をはじめ、国内外のフェスティバルなどで活躍する画家の中山晃子氏が担当。『ゴジラ対ヘドラ』の世界観を再解釈し、まるで生きているかのような流動映像が『ゴジラVSヘドラ』を彩ります。1971年に公開された『ゴジラ対ヘドラ』から50年となる節目の年に、公害怪獣ヘドラと怪獣王ゴジラが工業地帯を舞台にド迫力のバトル！ゴジラが勝つか！ヘドラが勝つか！世紀のタイトルマッチを目撃せよ！

Fraught with over obvious symbolism, Hartley's early feature is nonetheless a joy to watch. Hal here shows us his uncanny ability to cast his characters perfectly came early in his career.Adrienne Shelley is a near perfect foil to herself, equal parts annoying teen burgeoning in her sexuality (though using sex for several years); obsessed with doom and inspired by idealism gone wrong she is deceptively – and simultaneously – complex and simple. Her Audrey inspires so many levels of symbolism it is almost embarrassingly rich (e.g., her modeling career beginning with photos of her foot – culminating her doing nude (but unseen) work; Manhattan move; Europe trip; her stealing, then sleeping with the mechanics wrench, etc.)As Josh, Robert Burke gives an absolutely masterful performance. A reformed prisoner/penitent he returns to his home town to face down past demons, accept his lot and begin a new life. Dressed in black, and repeatedly mistaken for a priest, he corrects everyone ("I'm a mechanic"), yet the symbolism is rich: he abstains from alcohol, he practices celibacy (is, in fact a virgin), and seemingly has taken on vows of poverty, and humility as well. The humility seems hardest to swallow seeming, at times, almost false, a pretense. Yet, as we learn more of Josh we see genuineness in his modesty, that his humility is indeed earnest and believable. What seems ironic is the character is fairly forthright in his simplicity, yet so richly drawn it becomes the viewer who wants to make him out as more than what he actually is. A fascinatingly written character, perfectly played.The scene between Josh and Jane (a wonderful, young Edie Falco . . . "You need a woman not a girl") is hilarious . . . real. But Hartley can't leave it as such and his trick, having the actors repeat the dialogue over-and-over becomes frustratingly "arty" and annoying . . . until again it becomes hilarious. What a terrific sense of bizarre reality this lends the film (like kids in a perpetual "am not"/"are too" argument).Hartley's weaves all of a small neighborhood's idiosyncrasies into a tapestry of seeming stereotypes but which delves far beneath the surface, the catalyst being that everyone believes they know what the "unbelievable truth" of the title is, yet no two people can agree (including our hero) on what exactly that truth is. A wonderful little movie with some big ideas.

根據 津輕 三味線大師 高橋竹山 (Chikuzan Takahashi) 生平改編。二十世紀初, 日本 青森縣~ 高橋定藏 (Sadazo Takahashi, 林隆三 飾) 生於 青森縣 中平內村, 三歲時因為麻疹以致半失明, 被逼在小學時中途退學。15歲時, 母親 (乙羽信子 飾) 把他送到 坊樣 (失明流浪藝人) 戶田重次郎 (Jyujiro Toda, 觀世榮夫 飾) 家中學習三味線和演唱。定藏 17歲自立門戶, 在 日本 東北部和 北海道 當流浪藝人, 過著清苦的生活。母親曾兩次為他安排婚事, 第一位妻子 由美江 (Yumie, 島村佳江 飾) 隨夫登門表演時被侵犯, 定藏 勸她另覓歸宿; 第二位妻子巫女 富士 (Fuji, 倍賞美津子 飾) 亦因為 定藏 浪跡天涯而聚少離多。30多歲時 定藏 入讀盲人學校, 卻被老師嫁禍指他令班上一位年青女生懷孕, 定藏 憤然摔破三味線, 帶著一枝尺八離家出走, 再次踏上孤身一人的流浪之旅。

16岁的来春（李亦捷 饰）有两个妈妈，当年爸爸“黑面”入赘大妈家却因为大妈不能生育，于是又娶了小妈。来春很享受这个大家庭里家人的关心，但有时她又觉得很有压力。来春意外怀孕之后，男友便消失了，但阿春却固执的坚持要把小孩生下来。爸爸因为过度饮酒而病危入院，整家人乱作一团，面对家庭的变故，来春好像一下子长大了。她渐渐理解了对自己要求严苛的小妈，而且也学会照顾和体谅家人，同时，一股温暖的感觉在她的体内伴随着孕育的生命一同成长……本片在2010年第47届台湾金马奖获得14项提名，并最终囊获包括最佳剧情片在内的多项大奖。