*Shinjuku Mad* was one of 　　Koji Wakamatsu's six films from 1970. Grim and gritty, stark and steady, burdened with anti-moralizing, generously padded with sex, and totally redeemed by a soundtrack that needs to be released NOW. I knew nothing about this film, loading it up on to my laptop, and every last one of this film's sixty-sixty minutes kept me riveted. 　　Bear with me. The film opens with the band cycling through a jazzy rave-up, the black and images depict dead Japanese throughout a modern city. From the alleyways of the slums, to center of the park, you catch glimpses of bodies everywhere. This introduction is capped off by a lingering shot of a blood-soaked naked woman, face down. By this point, the band has reached a sort of peak. There's a cut, the band changes the direction of the song a bit, and then we're treated to a series of exterior shots from downtown, the lunch hour, maybe. You see a lot of storefronts and stairwells, people moving about. All of the people in these splices are done in negative image. 　　What follows can only be described as harrowing. After the credits, the reel switches to color. We're treated to the on-screen stabbing of a young man in a toga, his attackers strip his special lady-friend of her toga, spend about two minutes smearing her breasts with still-warm blood, and then take turns raping her. She doesn't seem to put up much of a fight. The scene is lensed with all of the enthusiasm of a television spot for a whole foods market. 　　Well, that's a fucked up way to start a movie. If you're still reading, I'll have you know the brutality eases up a little, but the camera's tendency to seek out each scene's more lurid details is relentless. The band never lets up, either. Another constant feature of the film is the protagonist's alienation from society. That's a pretty dated-concept, in a way. This film is cashing in on what could loosely be called the Existential demographic in 1970's Japan. Parts of it could have been written by Oe. Others by Mishima. It definitely, at times, addresses a bit of that lingering air of revolution, but more on that later. 　　The father of the kid stabbed in Technicolor shows up in the nest reel, in the same apartment his son was murdered in. This confused, grieving father asks a totally baked Shoko Asahara for information about the events leading up to his son's death. The long-haired no-goodnik is toking on a Sharpie-sized doobie. He gets so fucking high he passes out and the dad is left there in the empty apartment, getting a major contact-buzz. 　　So, the plot is basically that kind of exchange in larger and larger settings, intercut with glorious shots of the disillusioned father walking through industrial slums. The father, searching for the "Why" to his son's death goes on his quest and pisses just about everyone he comes into contact with off. He goes into subway stations and totally kills some beatniks' buzzes. Then he bullies a Hare Krishna ROCK AND ROLL SUPERSTAR and his belly-dancing percussionist at a park. Then he heads off to a bar, and we're treated to what must have been Tokyo's Greatest Garage Band getting low-down and sleazy here. This scene pretty much sums up what the film is about. As you dig the scuzz and the fuzz, the camera catches all manner of degeneracy and wanton reefer-use. And the bar has no less than three groups of people making out. And they get excessive with the groping. 　　Eventually, the father catches the ringleader of the vicious band of murderer-rapists. "Shinjuku Mad," is his name. After an unbelievably long and convoluted exchange between the protagonist and Shinjuku Mad, it comes out that Mad and the boys are rebelling against all of Japan. It's open season on everyone but them. His son was only a casualty, nothing personal. Their intent is to go on rebelling against society through random acts of violence against people and property. 　　After going through all the trouble of finding Shinjuku Mad, the old man's mind is blown by revolution for revolution's sake. After a few pummellings, he manages to turn the fight around. He winds up leaving with a nude girl that had been tied to a post for the entire scene. 　　He goes back to the apartment his son was murdered in to find his special lady-friend naked with six other dope-smoking cats grooving on free love and blue balls. 　　He decides he's happier with Shinjuku Mad alive and kicking, the band is at another one of its high points, and the camera pans out to the railroad yard, telephones wires, and the bare sides of modern buildings. 　　That was Japan, thirty-seven years ago.

那年夏天，久病在床的外婆生命即将走到尽头，按照卡茨门医生的说法，她随时可能离开。外婆辞世的那刻让这个犹太人家庭简直有些迫不及待，爸妈要考虑拮据的生计，小男孩则希望早日和姐姐分开睡，搬到外婆的房里。当然，对小男孩来说，外婆多活一天也是有好处的，因为他可以和小伙伴们躲在木质楼梯下面，偷看每天前来照看外婆的美丽护士的内裤。 　　然而繁重的家务终于让妈妈倒下，她因胆结石不得不卧床修养。趁这工夫，父亲偷偷将外婆送入了老人院…… 　　本片获1977年奥斯卡最佳动画短片奖提名，并在2006年6月Annecy国际动画电影节上评选出的“动画的世纪•100部作品”排第十名。

哈维、马鲁和拉伊是三个来自偏远地区的十五岁孩子，他们不得不在郊外度过漫长的暑假。他们决定谈论女孩子的话题并相互保守秘密，还发现所有家庭都有钱去度假，而唯独他们不行……但是他们几个继续做梦，期待着能乘坐旅行社橱窗广告上的一艘大船离开他们的街区，去看大海。 　　《街区》是一部涉及社会现实的作品，被评论界誉为“98年的优秀影片”。 　　荣获圣赛瓦斯蒂安电影节最佳导演奖和西班牙最佳编剧、最佳导演戈雅奖。 　　Runtime: 94 min / France:100 min

As part of the vision, EDGLRD will develop a new roster of talent. EDGLRD has recently teamed with music video maestro Stillz – a key Bad Bunny collaborator, and director of the videos for “Where She Goes” and “Monaco” – to translate the director’s unique visual sensibilities into a supernatural thriller. The project shot last month and is now in post-production, with EDGLRD aiming for a release this year.

As part of the vision, EDGLRD will develop a new roster of talent. EDGLRD has recently teamed with music video maestro Stillz – a key Bad Bunny collaborator, and director of the videos for “Where She Goes” and “Monaco” – to translate the director’s unique visual sensibilities into a supernatural thriller. The project shot last month and is now in post-production, with EDGLRD aiming for a release this year.

如果，在一個男人與女人除生理外沒有其他外在差別的時代，他們還會選擇這樣的行為模式這樣的身份嗎？會的，因為西裝革履粗曠堅強就是他們認為最應該的自我；不會的，因為堅強豪氣不必屬於長褲短髮。可惜我們永遠無法知道真正的答案，畢竟這仍是一個性別標籤的年代，你我仍無法避免地以既定的印象投射於眼前的芸芸眾生。 　　從小，想活成一個特別的人，想否定女人與溫柔與細心與家事與文靜與裙子與美麗的關係。以往，無法理解否定自己性別尤其是否定自己身為女人的人，甚至有點憎恨，總覺得有那些死沙文男就夠糟了，沒想到還有這些人，承認女人與強悍與莽撞與粗工與好動與領帶與腿毛無關，才讓社會上所謂女人的性格仍被定義成讓許多女孩苦惱的現狀。直到最近，才慢慢了解每個人對自己的gander有自己的定義，都該被尊重。 　　兩個不認為自己是女人的人：一個注射男性荷爾蒙，有著男生青春期後特有低沉的嗓音，非常不能接受自己的身體，只是沒到需要變性的地步；另一個，不認同男性身體，只認同社會所認定的男性特質，但是，在愛情的過程中仍對自己的身體感到自悲，總是認定對方仍是想要一個男生（關於這部份我的感想很殘忍--他們假裝是男人，談一場對方仍是要個男人的戀愛，又怎麼能怨怪對方轉身找個真貨？）。最奇妙是，唯一承認自己是愛女人的女孩，卻與一個原是男孩的女孩在一起......當然，我們可以說這一對證明了情愛之間的無可限可能，但也有種他們仍順服在異性戀模式下的感傷--不論從原始性別或藉別認同上看來都依循一男一女的模式，雖然心情上可能是男男或女女的對話...... 　　雖然滿腹質疑，仍受到震動，或多或少從中找到過往的片段。最記得咖祖說到初潮時的猶如晴天霹靂，真是心有戚戚。發育的早，胸部很早就開始用力證明我的性別，還記得我那時不能接受得每天瞪著它看希望能把它瞪回去，然而它卻取笑我無助似地快樂生長。我告訴自己，或許胸部是個騙人的意外，我只是胖了然而在國一的某個星期日，月事還是來了。隨著絞痛的小腹與流出的血液，世界從手上紅色的衛生紙開始漸漸碎成千片萬片...... 　　扮裝／變性，到底是認同、是模仿、是本性、是反抗、是出路，原因與結果交纏繚繞；三位受訪者是男、是女、是同性戀、是異性戀，也模糊不清。至於拍攝者是記錄、偷窺、或認定那是日本女同志的原型，就如我們坐下觀賞的動機理由一樣如此複雜而無法確定。

《新宿SEVEN》描绘了在新宿歌舞伎町典当店铺工作的天才鉴定师七濑身边发生的故事，中村伦也将饰演在七濑身边学习鉴定技巧的实习鉴定师大野健太，与离经叛道的七濑组成搭档，逐一解决难解案件。他透露剧本是围绕着主人公七濑身边事展开的，但是大野负责故事的另一条线，与主人公一起构成故事的主轴。

为了给广岛暴力团的抗争画上句号，成为枪手的与见打败了敌人，但自己也成了植物人。10年后，从死亡深渊苏醒过来的与见来到新宿，拜访了曾经的小弟江藤。。。