浩瀚的宇宙深处，某座星球的空间站内，身着橙色运动服的宇航员们在科学家的监督下进行艰苦训练。跑步、游泳、深蹲、仰卧起坐、失重训练、按时就餐。日复一日，年复一年，这些大男人不知何时能接到出发的命令，只能尽可能地在枯燥的生活中挖掘乐趣。或许只有到了夜幕降临，在临睡前的一刻才能找到些许闲暇玩乐一番，当然突如其来的意外又让这份快乐戛然而止。宇航飞船的组建工作趋近尾声，表现最优的两位宇航员1203和1204最终分别被确认为此次行动的最佳人选和替补队员。 　　出发的那一天，两位好友尽量轻松地向彼此告别。飞船起飞，1204真诚地为好友鼓掌。可就在此时，意外突然发生……

浩瀚的宇宙深处，某座星球的空间站内，身着橙色运动服的宇航员们在科学家的监督下进行艰苦训练。跑步、游泳、深蹲、仰卧起坐、失重训练、按时就餐。日复一日，年复一年，这些大男人不知何时能接到出发的命令，只能尽可能地在枯燥的生活中挖掘乐趣。或许只有到了夜幕降临，在临睡前的一刻才能找到些许闲暇玩乐一番，当然突如其来的意外又让这份快乐戛然而止。宇航飞船的组建工作趋近尾声，表现最优的两位宇航员1203和1204最终分别被确认为此次行动的最佳人选和替补队员。 　　出发的那一天，两位好友尽量轻松地向彼此告别。飞船起飞，1204真诚地为好友鼓掌。可就在此时，意外突然发生……

1969年，33岁的未来名监督 若松孝二（井浦新），热衷于粉红电影的制作，此时，一位少女（麦）敲开了若松制作公司的门，两人开始一起製作电影，青春、电影，还有爱情，一出青春群像剧就此展开。

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

深夜，因为各自的理由而无法入睡的四个男女，帮我们演绎了关于年轻的灵魂，悸动的心情，青涩而真挚的爱恋。

深夜，因为各自的理由而无法入睡的四个男女，帮我们演绎了关于年轻的灵魂，悸动的心情，青涩而真挚的爱恋。

深夜，因为各自的理由而无法入睡的四个男女，帮我们演绎了关于年轻的灵魂，悸动的心情，青涩而真挚的爱恋。