This collection of short films represents a hint of the tectonic shift in the underground film world in connection with the punk rock “movement.” Restored from original negatives, it showcases the reasonably well-known alongside the extremely rare, from music shorts to impressionistic documentary.

This collection of short films represents a hint of the tectonic shift in the underground film world in connection with the punk rock “movement.” Restored from original negatives, it showcases the reasonably well-known alongside the extremely rare, from music shorts to impressionistic documentary.

也许就可看性而言，这部拍摄于1968年的纪录片与《一夜狂欢》（A Hard Day’s Night）、《席德与南希》（Sid & Nancy）、《天鹅绒金矿》（Velvet Goldmine）、《大门》（The Doors）、《几近成名》（Almost Famous）等有关摇滚的叙事影片，甚至早它十年的戈达尔关于滚石的纪录片〈Sympathy for the Devil〉相比，要逊色很多；然而，〈The Punk Rock Movie〉却是所有这些影片中最真实的，虽然它的影像粗砺，剪辑零散，主题不清，但是这丝毫不会妨碍我们从中一窥朋克盛世的疯狂、激情和荒诞。 　　1977年，随着Sex Pistols、The Clash、Siouxsie and the Banshees等乐队的崛起，摇滚发展史上最极端的朋克乐步上短暂却辉煌的顶峰，成为最受年轻人喜欢的音乐。朋克在美国诞生，却在英国壮大，位于伦敦的The Roxy Club成为朋克乐队的大本营，而〈The Punk Rock Movie〉的导演Don Letts正是Roxy Club（本片是他的处女作，受此启发，他后来拍摄了许多摇滚纪录片，和The Clash的关系尤其密切）的DJ。说是导演，实在有些言过其实，其实所有的影像都是Don Letts用自己的超8毫米摄像机拍摄的，观众可以轻而易举地看出摄制者是多么的业余，很容易猜到拍摄这些包含多个乐队的断断续续的影像起源于Don Letts和朋友们的恶作剧，他想做的只是拍下朋友们在台前幕后的或疯或痴或认真或颓废的本色，然后一边放给他们看，一边讥讽道：“瞧你那傻样。”所以，从中休想看到什么清晰的脉络、明确的主题，我们所能看到的只是这些亚文化的英雄们最真实的一面。然而，这久违的真实已经足够我们受用了。当看到他们聚集在厕所注射毒品，针管长久地挂在手腕上难以拔除时，我们会震惊；当看到狂热的女歌迷浓妆艳抹，穿着底裤和网眼袜忘情摇摆时，我们会微笑；当看到乐手用刀片在腹部划下无数到血痕时，我们会窝心；当看到Sid Vicious第一次登上Sex Pistols的舞台时，我们会激动……于是，早已尘封的属于个人的青春印记跟着这些影像在记忆中复辟：那本名叫“朋克时代”的小册子、许多个属于“动感冲击波”和“蓝调之夜”的夜晚、偶尔一次的如同家庭成员聚会一般的演出。正像Don Letts所言，所有这一切，我们既是旁观者，也是亲历者。 　　也许，有人会说：“这些毛头小子当时不过是为了愤怒而愤怒，发泄体内过剩的荷尔蒙罢了。时过境迁之后，这些影像又有什么意义呢？”〈The Punk Rock Movie〉并没有试图把朋克塑造成一种伟大的音乐，几个年轻人，在台上把玩着几件简单的乐器，用破嗓子吼几句听不清楚的词句，台下是和他们一样懵懂的年轻人，这些和“伟大”丝毫不沾边。事实上，朋克是“伟大”的对立面，行动的意义远大于音乐本身。没错，也许〈The Punk Rock Movie〉中的朋克孤儿们的确是为了愤怒而愤怒，但那又怎样？！朋克告诉我们的就是每一个人都有对这个世界、对这个时代愤怒的权利，相比犬儒主义，你不得不承认这更振奋人心，虽然它带来的结果可能是两面的。我们很清楚在〈The Punk Rock Movie〉中出现的一些人过早地离开了这个世界，更多的人随着年龄的增长，收起吉他，脱下皮衣，拿起公文包，换上西装，成为他们曾经厌恶的中产阶级的一员，而听着他们的音乐成长起来的我们也过上了朝九晚五的生活，成为了所谓的“白领”。但是，我相信所有的旁观者和亲历者绝不会对“应该的”的生活状态感到坦然，相比周围的人，我们多了几分斗争的痛苦，但这份痛苦正是开启另一扇门的钥匙，我们手握着这把钥匙，也许一生也不会用它，但也许在未来的某一天我们会用它打开那扇门，如同导演Don Letts在27年之后说的：“It’s never too late to wake up”。

The ongoing relationship between the worlds of punk rock and animal rights and how the music became a breeding ground for vegan activism.

1976年1月8日，周恩来总理逝世，全国人民无限悲痛。广大群众以各种方式寄托自己的哀思。“四人帮”一伙竭力压制群众的悼念活动，并且借1975年10月以后在全国范围内开展“反击右倾翻案风”的政治运动，对邓小平以及其他一些中央领导同志的正确领导进行批判，使一度好转的政治、经济形势急剧恶化。

享尽万般宠爱的许家千金许期得知自己竟并非许家的真千金，而自从真千金许明珠被认回后，一向溺爱自己的父母和哥哥都开始偏听偏信许明珠的一面之词。因误以为许期将奶奶推下楼导致昏迷，许家人将许期送进女德学校忏悔改过，致使许期遭受了长达三年的非人折磨，落下无法逆转的终身残疾。三年后，许期被许家接回，许家人发现，曾经那个明媚爱笑的许期如今拒人千里

莱昂内尔爵士（休·杰克曼 Hugh Jackman 配音）是一名怪物调查员，为了获得探险精英的认可，他将自己的生死置之度外，为了寻找未被人类发现的怪物跋山涉水，远渡重洋，发誓要将自己探险的足迹遍布整个世界。某日，雷昂内尔爵士收到了一封匿名信，信中声称，在美国太平洋西北地区发现了一只罕见的，体型巨大的长毛怪。如获至宝的莱昂内尔爵士立刻就踏上了前往那里的旅途。 　　果不其然，很快，莱昂内尔就见到了自己的梦中情怪——林克先生（扎克·加利费安纳基斯 Zach Galifianakis 配音），让莱昂内尔爵士感到震惊的是，林克先生似乎缺乏野心，而且精通人类的语言。在林克先生的请求下，莱昂内尔爵士决定带着他前往香格里拉，去寻找他在那里生活的远亲——大雪怪。

莱昂内尔-弗罗斯特爵士认为，在调查世界上的神秘生物领域，自己是世界上数一数二的专家，但是他的同行们却对他不以为然。为了获得探险精英的认可，他赌上…

Making war is a storyteller’s job. A good story is crucial to legitimizing the use of military force. That’s why militaries need strong promotion and Israel is a model country in promoting its military ventures. We’ve successfully colonized, occupied and overgrown, and only got stronger and more accepted amongst the nations. Our history as persecuted Jews, and our enlightened democracy are both in use in our solid PR kit. But before pitching our story to the world, we need to pitch it to our children. As moral corruption linked with apartheid thrives, avoiding military service becomes a threat. For some children we’ll offer benefits, for most we’ll sell fictitious promises. Every child is screened to serve with bearable pressure and an adjusted amount of exposure to violence. This is the story of children who resisted being enlisted but were capitulated. Their stories were never told as they died during their service. Through a narration based on their haunting diaries, the film depicts their inner turmoil. It interweaves first-hand military images, key moments from childhood until enlistment, and home videos of the deceased soldiers whose stories are silenced and seen as a national threat. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1272/14782

Making war is a storyteller’s job. A good story is crucial to legitimizing the use of military force. That’s why militaries need strong promotion and Israel is a model country in promoting its military ventures. We’ve successfully colonized, occupied and overgrown, and only got stronger and more accepted amongst the nations. Our history as persecuted Jews, and our enlightened democracy are both in use in our solid PR kit. But before pitching our story to the world, we need to pitch it to our children. As moral corruption linked with apartheid thrives, avoiding military service becomes a threat. For some children we’ll offer benefits, for most we’ll sell fictitious promises. Every child is screened to serve with bearable pressure and an adjusted amount of exposure to violence. This is the story of children who resisted being enlisted but were capitulated. Their stories were never told as they died during their service. Through a narration based on their haunting diaries, the film depicts their inner turmoil. It interweaves first-hand military images, key moments from childhood until enlistment, and home videos of the deceased soldiers whose stories are silenced and seen as a national threat. 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1272/14782