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。。。

像锡器一样拥有强韧肉体的西神勇次，令人闻风丧胆，被称为“锡尼迦”。两年前因为伤害事件被关进监狱，现在终于以假释出狱。迎接勇次的，是一个初次见面的自称“阿直”的青年，阿直从富裕家庭中离家出走，从事大麻贩卖，但最近在交易中被劫走了价值三千万日元的大麻和他的搭档修平，他之所以接近勇次，是因为他那野兽般的力量对于找回大麻和修平来说是必不可少的，就这样，勇次、勇次的恋人笑子和阿直三人组出场了。据勇次和阿直调查发现，“友爱互助会”组织和绰号为“蝎子”的杀手正在悄悄现身，不顾蝎子忠告四处走动的勇次，收到了穿着修平衣服、浑身是血的人体模型，可见修平已死无疑，勇次他们和友爱互助会的冲突愈演愈烈，此时笑子被杀了，决心要报仇的勇次打到了友爱互助会大楼，可是会长汤浅却带着着大麻，打算坐直升机从屋顶逃走，被杀手蝎子枪口瞄准的勇次把抓到的汤浅当成盾牌，蝎子毫不客气地开枪，汤浅死后蝎子也遭到勇次的反杀，勇次和阿直拿回大麻，坐上直升机，飞向天空......

小男人梁宽虽与其妻安娜分居，但他并不死心。后来妻子宽恕了他，两人终于和好，并订下“十戒”。梁宽进入公关公司任职，并配有一名女秘书。公司跟日本人做生意，梁宽携秘书同往日本。秘书有一牙医男友，临行前，牙医向秘书表示了非正式求婚。在日本期间，梁宽与秘书产生激情。回港后，秘书与牙医男友准备结婚。但在婚姻注册处，牙医男友与安娜均获悉他俩在日本的新宿之情。最后秘书离开了身边的两个男人；而安娜亦愤然要求离婚。于是，梁宽又起而纠缠、挣扎不休，希望其妻再予宽恕。

小男人梁宽虽与其妻安娜分居，但他并不死心。后来妻子宽恕了他，两人终于和好，并订下“十戒”。梁宽进入公关公司任职，并配有一名女秘书。公司跟日本人做生意，梁宽携秘书同往日本。秘书有一牙医男友，临行前，牙医向秘书表示了非正式求婚。在日本期间，梁宽与秘书产生激情。回港后，秘书与牙医男友准备结婚。但在婚姻注册处，牙医男友与安娜均获悉他俩在日本的新宿之情。最后秘书离开了身边的两个男人；而安娜亦愤然要求离婚。于是，梁宽又起而纠缠、挣扎不休，希望其妻再予宽恕。

20世纪90年代中国东北，铁头（成龙 饰）和女孩秀秀（徐静蕾 饰）两情相悦。不久，秀秀作为二战遗孤返回日本，从此杳无音讯。挂念秀秀的铁头偷渡来至日本，投靠同乡阿杰（吴彦祖 饰），与一众华人偷渡客过着提心吊胆的黑工日子。 　　此时的秀秀已经更名结子，嫁给了日本黑帮三和会的若头江口利成（加藤雅也 饰）。亲眼见到这一幕的铁头心灰意冷，自此决心千方百计赚钱，留在日本。他们捞钱的手段很快触及到台南帮的利益，最终导致阿杰被斩断右手。铁头跟踪台南帮老大高捷（高捷 饰），意外得知一场黑社会的利益仇杀阴谋，他和一众朋友不可避免地卷入其中……

新宿是东京仅次于银座的繁华地带，人口最为密集，充满了混乱气息。一天，突然有人大叫“小偷”，一群追赶的人们把小偷抓住，剥开衣服，只剩一条兜档布，腹部露出樱花纹身，追赶的人们都说“服了”，全都倒立起来，事件随即演变成“现场剧院”的表演宣传。一个叫鸟男的旁观者走进新宿车站附近的一间书店里，偷了几本性科学和人体美术书，被店员梅子扭送到老板处。鸟男在被抓时还在不断的偷，并说“我差一点就要射精了”，被抓后鸟男也丝毫没有认罪的态度。老板对鸟男偷书的选择很赏识，反而拿钱叫梅子陪鸟男上餐厅。两人一起看偷来的书，互相挑逗，当夜作爱，但很不成功。 　　 　　次日，两人请教性科学家，露骨的关于性爱的讨论和场面不断出现在银幕上，但两人兴趣索然。为刺激性欲，两人去偷看艺妓作爱，这些人为了帮助这两个缺乏性经验的男女，假装要强奸梅子，却假戏真做。深夜，梅子在书店把一本本有趣的书堆起来，每拿一本书，画面就出现作者的肖像，并朗读一段章节。后来。两个人加入了“现场剧院”的“期待扰乱戏剧”，梅子用月经模拟出剖腹的样子。此时，新宿街头的年轻人开始投掷石块。影片最后，反日共派的全日本学生自治会大联合的学生们在反战日袭击了新宿车站。

新宿是东京仅次于银座的繁华地带，人口最为密集，充满了混乱气息。一天，突然有人大叫“小偷”，一群追赶的人们把小偷抓住，剥开衣服，只剩一条兜档布，腹部露出樱花纹身，追赶的人们都说“服了”，全都倒立起来，事件随即演变成“现场剧院”的表演宣传。一个叫鸟男的旁观者走进新宿车站附近的一间书店里，偷了几本性科学和人体美术书，被店员梅子扭送到老板处。鸟男在被抓时还在不断的偷，并说“我差一点就要射精了”，被抓后鸟男也丝毫没有认罪的态度。老板对鸟男偷书的选择很赏识，反而拿钱叫梅子陪鸟男上餐厅。两人一起看偷来的书，互相挑逗，当夜作爱，但很不成功。 　　 　　次日，两人请教性科学家，露骨的关于性爱的讨论和场面不断出现在银幕上，但两人兴趣索然。为刺激性欲，两人去偷看艺妓作爱，这些人为了帮助这两个缺乏性经验的男女，假装要强奸梅子，却假戏真做。深夜，梅子在书店把一本本有趣的书堆起来，每拿一本书，画面就出现作者的肖像，并朗读一段章节。后来。两个人加入了“现场剧院”的“期待扰乱戏剧”，梅子用月经模拟出剖腹的样子。此时，新宿街头的年轻人开始投掷石块。影片最后，反日共派的全日本学生自治会大联合的学生们在反战日袭击了新宿车站。

*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.