友子的父亲大山豪介因为多年前在生意场上结下的恩怨而受到袭击。一个叫矢野的人扬言要杀死豪介，以报18年前的杀父之仇。豪介受到了警局的特别保护，刑警新田雄作和新田秀夫父子受命捉拿矢野。友子在短跑比赛中获得了优胜，大山一家相聚在一起为友子庆贺。伺机报仇的矢野用枪瞄准了豪介，新田父子俩为保护豪介同时举枪瞄准矢野，不想秀夫射出的子弹误伤了突然向父亲跑来的友子。经过抢救，友子的性命虽然保住了，但由于腰椎受到严重操作而导致下半身瘫痪，无法行走。秀夫对此深感内疚，在爱的感召下他决定帮助友子重新回到田径场上。 　　秀夫和友子克服了来自社会与家庭的重重阻力，两人坚定地走在一起。秀夫始终支持并帮助着友子进行艰苦的恢复训练，他们坚信只要不断地努力，奇迹一定会出现。但命运似乎总是喜欢捉弄这对恋人，双方长辈的恩恩怨怨也相继浮出了水面，给这对恋人造成了极大的困扰。面对这一连串的考验，在爱情的跑道上，友子和秀夫义无反顾地向前冲刺……

改编自丹尼尔·苏加利诺夫的小说《 Bricks 2.0》。离婚的银行职员卡纳特和他饱受阿兹海默病困扰的母亲一起，过着单调而乏味的生活。 当他重遇大学老友丹尼尔时，他的世界逐渐陷入了声色犬马的夜晚与道德的败坏。这是一则关于好人如何堕落的警世故事。

男に弄ばれながらも純粋な心を失わない少女、夕子。人間性を失った退廃的な現代、その中で男は、女は何を求めるのか―。男の純愛、女の幸せ、そして性とは何か、を描く日活ロマンポルノ。監督は片桐夕子と始めてコンビを組んだベテラン西村昭五郎。

一名刺客试图违背老板的意愿退休。

一名刺客试图违背老板的意愿退休。

顾漱石 (任达华) 是一位充满传奇性的人物。他最初是银行家的长子，自小生长在富贵之家，性格豪爽，而偏偏不爱在上流人的小圈子混，他虽然有机会继承父业，但却没有野心。后来，他一家惨遭奸人夺产，变为破落户，漱石受到这冲击，性格也趋向现实及甘愿从低做起，投靠奇女子戚蔷薇 (狄波拉) 。 　　漱石在逆境中生活，得到曾素婷 (赵雅芝) 的真爱，于是拒绝蔷薇的好意。此时漱石发现陷害他一家的仇人，誓死以牙还牙，展开一连串紧张刺激报复行动。而素婷本来是位社工系大学生，一心献身服务社会，但为了帮漱石报仇，却不惜借助黑势力，变成独当一面的女强人，助爱人完成志愿。

顾漱石 (任达华) 是一位充满传奇性的人物。他最初是银行家的长子，自小生长在富贵之家，性格豪爽，而偏偏不爱在上流人的小圈子混，他虽然有机会继承父业，但却没有野心。后来，他一家惨遭奸人夺产，变为破落户，漱石受到这冲击，性格也趋向现实及甘愿从低做起，投靠奇女子戚蔷薇 (狄波拉) 。 　　漱石在逆境中生活，得到曾素婷 (赵雅芝) 的真爱，于是拒绝蔷薇的好意。此时漱石发现陷害他一家的仇人，誓死以牙还牙，展开一连串紧张刺激报复行动。而素婷本来是位社工系大学生，一心献身服务社会，但为了帮漱石报仇，却不惜借助黑势力，变成独当一面的女强人，助爱人完成志愿。

布莱凯吉在他的《狗星人》中延展了抒情形式，这个五个部分的作品集，试图融合自然、人类日常生活、死亡的必要性与宇宙的律动等主题。布莱凯吉并且将这部影片的所有片段区分开来，剥去层层的重叠影像，进而完成另外一部长达四个半钟头，他称之为《视觉的艺术》（The Art of Vision，1965）的作品。

Back in Cambodia after 7 years, she is still holding a camera. Following the gap between what she experienced this time, she was dragged into somewhat reality, sensed a definite attitude of words and images, the undoing and limitation of the medium, and how she and her memories were shaped since don‘t know timelessly when. Meanwhile, new experiences that happened during the process of rebuilding keep going. What truth can be kept by a camera? A person connects to the other one making the memory alive. 　　Flash, Track is the second film of her three “regional photo” series practices. In a limited time, bringing a camera into a place, every experience and encounter contemplates and reflects her heart and image essence, while what was been recorded stands its own life, and all of these become something to keep for herself, the people, and the place.

Back in Cambodia after 7 years, she is still holding a camera. Following the gap between what she experienced this time, she was dragged into somewhat reality, sensed a definite attitude of words and images, the undoing and limitation of the medium, and how she and her memories were shaped since don‘t know timelessly when. Meanwhile, new experiences that happened during the process of rebuilding keep going. What truth can be kept by a camera? A person connects to the other one making the memory alive. 　　Flash, Track is the second film of her three “regional photo” series practices. In a limited time, bringing a camera into a place, every experience and encounter contemplates and reflects her heart and image essence, while what was been recorded stands its own life, and all of these become something to keep for herself, the people, and the place.