A fictionalized documentary on Japanese writer Nakagami Kenji, who died young in 1992. Nakagami was the chronicler of the seaside town of Shingu. Many of Nakagami's stories are set in a specific alley in Shingu, an alley that has now gone, but that lives on in the fiction of Nakagami. And also on celluloid, because the writer filmed the alley before its demolition. Filmmaker Izuchi Kisshu goes in search of what is left of Nakagami's alley. The specific mood of the small harbour town, however, turns out to be difficult to find. Kisshu reads the books of Nakagami out loud for us at the locations where they are set, but it is difficult to invoke the magic. Time and again, we return to the film images made by Nakagami, while Kisshu seems to search in vain in the present. The mood of the harbour town is vulnerable and precious yet can disappear just like that Kenji Nakagami one of the most notable Japanese writers of the post-war died in 1992. Is work reveals a strong connection to is homeland, Kishu: a mountainous region which connects to the pacific ocean trough a river. "To The Alley" (alternative title) is a documentary about Kenji's life. Recurring to 16 mm images from the writer's personal archive and adding new footages the director Aoyama travels trough the paths of the life and art of the Japanese writer

恋爱菲林讲述的是纯情少女语桐意外卷入花花公子池旭的爱情游戏里，俩人从互相看不顺眼到相知相爱，语桐治愈了池旭对爱情的不信任和恐惧池旭也给了语桐坚定不移的守护。可随着池旭青梅的出现，俩人的感情也陷入危机之中，最终语桐为了池旭的手术可以顺利进行，在青梅的威胁下，忍痛跟男主分手远走他乡，并生下与池旭的爱情结晶。五年后再次相遇的两人，会发生什么样的故事···

京城后街头条居委会在主任何秀芬的带领下，全体成员各司其职，为社区居民能够安居乐业而四处奔忙。不过，居委会内部也并非一帆风顺，存在着一些“小摩擦”，老同志们总想教导新人，而新人们却不太愿意被管束。在日常工作里，大家难免会产生一些小矛盾，但在工作之余，彼此仍是好伙伴。特别是何大妈，她把唐小米当作孙女一样关怀，还给予她更多展示工作能力的机会。该剧情节紧密围绕京城百姓的生活以及社会现实问题展开，生动地折射出当今北京这座国际化大都市所独有的、厚重的历史文化与鲜明的现代特色。

顾雄与章捷民的两家酒帘经常为了利益冲突而拼个你死我活。曾经与顾雄共过患难的周志强与章捷民的妹妹珍妮相恋，令章捷民为之气结。 为了珍妮，章捷民与顾雄两帮人马发生大激斗。拉扯之中，章捷民刺死了顾雄，怒火中烧的周志强也误杀了章捷民，事情越闹越大……

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Back Street is a 1961 film made by Universal Pictures, directed by David Miller, and produced by Ross Hunter. The screenplay was written by William Ludwig and Eleanore Griffin based on the novel by Fannie Hurst. The music score is by Frank Skinner. The film stars Susan Hayward, John Gavin and Vera Miles. The story follows two lovers who have limited opportunities to get together because one of them is married. It was nominated for Academy Award for Best Costume Design, Color (Jean Louis). Unlike the previous film versions, this one gives Susan Hayward plenty of opportunity to appear in Jean Louis's spectacular gowns. This was a trademark of Ross Hunter's remakes of older "weepies"; he emploied the same method in Lana Turner's versions of Imitation of Life and Madame X. Of all three screen versions of Back Street, this 1961 production took the most dramatic license with the novel. It is different from both the 1932 and 1941 screen versions in many ways - changing the names of several characters and updating the story to what was then the present day. Good examples of how the plotline was sensationalized in this third version are the attempted suicide and the fatal car crash.

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Hong Kong Butcher tells the story of a looney, sexually inadequate cab driver who takes out his frustrations on hapless women by cutting them up and preserving their genitals a la Ed Gein. Director Jeffrey Lau, credited here as China Chung, begins the film with a 'documentary' segment focusing on the insane folks who inhabit the streets of Hong Kong. Our antagonist fits nicely among them, because he is shamelessly crazy. Any chance he may have at a semi-normal relationship with one girl he meets is dashed when he takes her on a metal-crunching daredevil car ride after first meeting her, then goofily harasses her at her apartment door the following day when she refuses to let him in. At night the guy cruises the streets of Hong Kong in his cab, grabbing a woman now and again to knock unconcious and carry to his apartment where he hacks them up, then has sex with them. He displays his victim's parts in plastic cases, and prances around his apartment in ecstasy looking at them. He shoots pictures of it all and casually takes the photos to be developed at the corner store. Lau populates the film with prostitutes and cabaret singers, which helps to give it an added layer of sleaze. And the soundtrack music is all over the place: there's 80's Asian trash pop, 70's analog synth bubbling, and a healthy sampling of Brian Eno's Music for Films. I really liked how it all worked. Not much story here, just the episodic goings on in the crazy dude's life. Worth checking out, even given the crude subs and substandard sound.

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