It follows a crew of fierce female convicts who break free and go on the run.

It follows a crew of fierce female convicts who break free and go on the run.

A car wreck on a beach road. While the passengers gather round the broken engine the driver, a young man meets his doppelganger on the beach. He beats and strangles him to death. A hospital. The young man walks down a flight of stairs passing a group of beautiful nurses and is hit by a crutch, thrown by his doppelganger who’d been waiting for him at the top of the staircase. Again he beats him to death with the crutch disposing of the corpse in the nearby toilet room. Leaving the toilet the young man is again confronted with his living doppelganger and collapses. A car. The young man now drives through Tokyo’s outskirts accompanied by a beautiful woman who tries to hug and kiss him. Desperately he tries to escape from her leaping through the windshield of the driving car now flying high above the highways landing on a table on the rooftop of a building trying to hide from the woman, who somehow managed to follow him through the air… 　　Sounds crazy? It’s the synopsis of the first 10 minutes of Adachi’s independently produced experiment in classical surrealism, a dreamlike Möbius-strip of a film, which was the formal opening film at the famous underground theatre Zasori-za located in the basement of Shinjuku Bunka, the headquaters of ATG and the Tokyo underground movements of the 60’s. The original print was sepia-tinted, hence the distorted colour of the stills.

A car wreck on a beach road. While the passengers gather round the broken engine the driver, a young man meets his doppelganger on the beach. He beats and strangles him to death. A hospital. The young man walks down a flight of stairs passing a group of beautiful nurses and is hit by a crutch, thrown by his doppelganger who’d been waiting for him at the top of the staircase. Again he beats him to death with the crutch disposing of the corpse in the nearby toilet room. Leaving the toilet the young man is again confronted with his living doppelganger and collapses. A car. The young man now drives through Tokyo’s outskirts accompanied by a beautiful woman who tries to hug and kiss him. Desperately he tries to escape from her leaping through the windshield of the driving car now flying high above the highways landing on a table on the rooftop of a building trying to hide from the woman, who somehow managed to follow him through the air… 　　Sounds crazy? It’s the synopsis of the first 10 minutes of Adachi’s independently produced experiment in classical surrealism, a dreamlike Möbius-strip of a film, which was the formal opening film at the famous underground theatre Zasori-za located in the basement of Shinjuku Bunka, the headquaters of ATG and the Tokyo underground movements of the 60’s. The original print was sepia-tinted, hence the distorted colour of the stills.

Science fiction writer is gifted with ability to materialise his thougts. As a result, a group of aliens is coming to Earth.

Science fiction writer is gifted with ability to materialise his thougts. As a result, a group of aliens is coming to Earth.

亚马逊和派拉蒙改编99年经典科幻喜剧

亚马逊和派拉蒙改编99年经典科幻喜剧

星际联盟收到探索飞船发出的求救信号后立刻派遣星际精英特种小组前去营救，由于机器故障飞船迫降到那个荒芜且怪异的星球上。 不久后，船员在星球上发现了那艘废弃的飞船，但里面的飞行员都莫名其妙的死去，为了防止尸体异变，他们决定把尸体全部销毁。

柴鸡与阿娇是农村夫妇，柴鸡多年逐梦演员未果。一晚他请副导演喝酒晚归，被阿娇赶出门。遇道士劝其前世有情债，不可露宿，柴鸡不听。 古装女子小倩出现，称是他上辈子夫人，柴鸡不记得。小倩求道士以千年修行换人间三天，还允诺满足柴鸡三个愿望。前两个愿望实现后，柴鸡将小倩独自留在古城。 回过神的柴鸡把小倩背回家，因愿望阿娇变得温柔未生气。后来阿娇不满小倩，道士用鸡血驱赶。小倩不舍，再次求道士换三天陪伴柴鸡。