两性图吧

大导演岳枫又一得意之作，描述女主角方盈饰演之文兰，围绕着三位英俊小生王羽、乔庄及张冲之间，发展出一段感人肺腑之四角爱情关系。

宇宙历八世纪末、帝国历五世纪末，银河帝国和自由行星同盟的战争已持续150年，帝国庞大的疆土却毫无秩序可言，同盟也早已丧失建国的初衷，漫长的战争似乎永远不会终结。在这个混乱的时代下，少年莱茵哈特·冯·缪杰尔经历着坎坷的童年，他的母亲早年车祸身亡，身为穷贵族的父亲破罐破摔，美丽善良的姐姐安妮罗杰用心操持家中的一切。搬家后，莱茵哈特与邻家少年齐格飞·吉尔菲艾斯成为好友，吉尔菲艾斯则悄悄爱慕着安妮罗杰。好景不长，安妮罗杰被父亲安排献给皇帝，愤怒的茵哈特和吉尔菲艾斯报考幼年士官学校，希望有朝一日救出姐姐，而在此期间他们对这个腐朽的帝国也发生了不可告人的看法。 军校毕业后，两位好友双双赶赴前线。宇宙历792年（帝国历483年）自由行星同盟为了攻陷银河帝国最重要的军事据点伊谢尔伦要塞，派遣第五次远征队出发。 这就是第五次伊谢尔伦要塞攻略战。 金发小子和红发小子他们即将在茫茫宇宙中，与毕生的宿敌杨威利完成初次的对决……

*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.

改革开放以后，大队干部知道陈奂生（村里 饰）曾和县委吴书记（宋春霖 饰）有过一段不错的交情，便让他到队办企业当采购员，憨厚朴实的陈奂生不知就里，走马上任。在城里旅馆，偶遇老采购林真和（田英 饰），得知陈奂生与县委书记关系不错，林暗自高兴，告诉他如今市场什么货源紧俏。老实的陈奂生以计行事。吴书记见到陈奂生，安排办公室主任酌情处理，陈奂生由于不懂请客送礼那一套，空着两手去了化工厂，正欲挡驾的王厂长（刘冠雄 饰）得知陈有来头，便把己答应刘玉梅（齐桂荣 饰）的原料批给了陈奂生，而给王厂长送过礼的刘玉梅大惑不解。而意外获得原料的陈奂生更觉坠入云里雾里：这个世界怎么了......