鸿蒙初开，万灵皆有命，爱恨相依，破执化为神。

改编自藤萝为枝原著小说《我不可能会怜惜一个妖鬼》。

改编自藤萝为枝原著小说《我不可能会怜惜一个妖鬼》。

堕胎时，女孩从体内排出一只水母。

堕胎时，女孩从体内排出一只水母。

2013年・第5回沖縄国際映画祭コンペティション「Peace部門」で上映。クラスで浮いていた孤独な女子高生・宮下夕紀が、水族館のクラゲの水槽の前で同じクラスの叶子と出会い、唇を重ねたことから互いにひかれあっていく姿を描く青春劇。新潮社の「女による女のためのR-18文学賞」受賞作を映画化していく「R-18文学賞」シリーズの第2弾。

2013年・第5回沖縄国際映画祭コンペティション「Peace部門」で上映。クラスで浮いていた孤独な女子高生・宮下夕紀が、水族館のクラゲの水槽の前で同じクラスの叶子と出会い、唇を重ねたことから互いにひかれあっていく姿を描く青春劇。新潮社の「女による女のためのR-18文学賞」受賞作を映画化していく「R-18文学賞」シリーズの第2弾。

歡迎來到果凍石小鎮，這個迷人的小鎮，有你最喜愛的漢納巴伯拉動畫角色，他們在這裡一起生活、工作和遊玩……與此同時，還忍不住為彼此製造麻煩。

http://www.screenonline.org.uk/film/id/711817/index.html 　　This experimental animation from the Amber Film Collective stands apart from the documentaries and social realist films, mostly concerned with life and work in the North East, that would become the collective's usual stock in trade. It was the third release to appear under the Amber banner, and the second of only two animations (the other being 1969's A Film). 　　Jellyfish employs a variety of experimental approaches, combining stop-motion and pixilation techniques, freely mixing black and white photography of beach landscapes, objects and people - along with some drawings - to build a poetic, very textured montage, eliding the real and the surreal, the beautiful and the eerie, the spirited and the deadly. Figures and objects are isolated, linked together only by their presence on a beach, all exposed to direct or indirect threats. The different jellyfish are as much at threat - washing up dead, stranded in the desolate landscape - as they are a threat - appearing suddenly and making people vanish. 　　Jellyfish resonates with a sense of unseen menace prevalent in the 1970s, at the height of the Cold War. With its mushroom cloud shape (providing the film's most direct image), stinging tentacles and alien appearance, the jellyfish makes a potent symbol for the atomic bomb. The film makes at first implicit, and later explicit, references to nuclear threat: the emblematic jellyfish, a woman disappearing in a toxic cloud, anonymous suited politicians around a table, a recurring image of a man running (in terror?). The mood of urgency and anxiety is enhanced by the soundtrack and editing, which grow faster and more staccato as the film goes on. 　　In 1973, at the time of the film's making, the Vietnam War was still in progress, while the full extent of the risk of a full-scale nuclear war following Russia's intervention in that year's Egypt-Israeli war only emerged later.

http://www.screenonline.org.uk/film/id/711817/index.html 　　This experimental animation from the Amber Film Collective stands apart from the documentaries and social realist films, mostly concerned with life and work in the North East, that would become the collective's usual stock in trade. It was the third release to appear under the Amber banner, and the second of only two animations (the other being 1969's A Film). 　　Jellyfish employs a variety of experimental approaches, combining stop-motion and pixilation techniques, freely mixing black and white photography of beach landscapes, objects and people - along with some drawings - to build a poetic, very textured montage, eliding the real and the surreal, the beautiful and the eerie, the spirited and the deadly. Figures and objects are isolated, linked together only by their presence on a beach, all exposed to direct or indirect threats. The different jellyfish are as much at threat - washing up dead, stranded in the desolate landscape - as they are a threat - appearing suddenly and making people vanish. 　　Jellyfish resonates with a sense of unseen menace prevalent in the 1970s, at the height of the Cold War. With its mushroom cloud shape (providing the film's most direct image), stinging tentacles and alien appearance, the jellyfish makes a potent symbol for the atomic bomb. The film makes at first implicit, and later explicit, references to nuclear threat: the emblematic jellyfish, a woman disappearing in a toxic cloud, anonymous suited politicians around a table, a recurring image of a man running (in terror?). The mood of urgency and anxiety is enhanced by the soundtrack and editing, which grow faster and more staccato as the film goes on. 　　In 1973, at the time of the film's making, the Vietnam War was still in progress, while the full extent of the risk of a full-scale nuclear war following Russia's intervention in that year's Egypt-Israeli war only emerged later.