故事讲述于佩尔饰演一名为巴黎禁毒小组工作的法语-阿拉伯语翻译。一天她被派遣帮助一个女人陷入困境的儿子，却因此卷入了一场失败的毒品交易，获得了一堆大麻。在坚持与禁毒小队工作的同时，这名翻译悄然走向另一方，成为了知名的毒贩。

故事讲述于佩尔饰演一名为巴黎禁毒小组工作的法语-阿拉伯语翻译。一天她被派遣帮助一个女人陷入困境的儿子，却因此卷入了一场失败的毒品交易，获得了一堆大麻。在坚持与禁毒小队工作的同时，这名翻译悄然走向另一方，成为了知名的毒贩。

Second feature film by German-Turkish director Thomas Arslan (Ferien, Aus der Ferne), and a rough diamond of the first generation of the so-called ‘Berlin School’. Can is a young and smart upstart; he dreams of a small family but the money that fuels this dream comes from the streets. Can is a dealer, he works for Hakan who is supplying the kids in his neighbourhood with drugs. And while Can struggles to get control over his life he sees his girl friend, the mother of his kid, leaving and himself increasingly surrounded by false friends. On top of it, a cop (Birol Ünel, the male lead from Fatih Akin’s “Gegen die Wand) is on his back trying to persuade Can to work undercover for the police. The more Can attempts to free himself, the deeper he sinks into a life he never aspired to. 　　“Dealer” uses the form of the gangster film for a superb character study of a young man on his way down. It’s a bleak film, as most of the Berlin School films, but Arslan’s precision is astonishing. His framing of the action (or rather non-action) is almost geometrical, Arslan has a keen eye for space – space that is mostly empty in his film. His characers are lost in the city, although they are never alone. Abandoning all conventional mumbo jumbo like character psychology or empathy, “Dealer” remains as erratic as his main protagonist. It was Arslan’s second film of his 'Berin Trilogy' and the first of his films critics described as ‘Bressonian’. It is nothing but true. “Dealer” displays an honesty and depth that is rarely seen in German cinema. Arslan was never this good again.

Second feature film by German-Turkish director Thomas Arslan (Ferien, Aus der Ferne), and a rough diamond of the first generation of the so-called ‘Berlin School’. Can is a young and smart upstart; he dreams of a small family but the money that fuels this dream comes from the streets. Can is a dealer, he works for Hakan who is supplying the kids in his neighbourhood with drugs. And while Can struggles to get control over his life he sees his girl friend, the mother of his kid, leaving and himself increasingly surrounded by false friends. On top of it, a cop (Birol Ünel, the male lead from Fatih Akin’s “Gegen die Wand) is on his back trying to persuade Can to work undercover for the police. The more Can attempts to free himself, the deeper he sinks into a life he never aspired to. 　　“Dealer” uses the form of the gangster film for a superb character study of a young man on his way down. It’s a bleak film, as most of the Berlin School films, but Arslan’s precision is astonishing. His framing of the action (or rather non-action) is almost geometrical, Arslan has a keen eye for space – space that is mostly empty in his film. His characers are lost in the city, although they are never alone. Abandoning all conventional mumbo jumbo like character psychology or empathy, “Dealer” remains as erratic as his main protagonist. It was Arslan’s second film of his 'Berin Trilogy' and the first of his films critics described as ‘Bressonian’. It is nothing but true. “Dealer” displays an honesty and depth that is rarely seen in German cinema. Arslan was never this good again.

14-year old drug dealer Johnny is in a home for young people. When he learns that he cannot go home at weekends any longer, he asks one of his customers, famous successful actor Antony, to be his weekend guardian.

和许多犹太青年一样，萨姆（杰西·艾森伯格 Jesse Eisenberg 饰）的一生几乎都被安排好了，这让毫无悬念的生活令萨姆十分厌倦，家里的每一个人和每一件事都让他感到窒息。邻居齐默曼（贾斯汀·巴萨 Justin Bartha 饰）看出了萨姆的动摇，他主动找到了萨姆，告诉他了一些关于贩毒的消息。 　　齐默曼把萨姆介绍给了毒贩所罗门（丹尼·A·阿贝克恺撒 Danny A. Abeckaser 饰），就这样，萨姆开始了他离经叛道的新生活。很快，萨姆就展现出了聪明伶俐的一面，在业界获得了好评与肯定，与此同时，他和家人之间的嫌隙也越来越大。最终，萨姆被父亲赶出了家门，然而，他并没有因此而产生退却的念头，萨姆的野心最终会将他引导到破灭的境地。

代号Salt的盐谷令子（大竹忍 饰）和代号Sugar的佐藤直美（室井滋 饰）是两个同样出生于1952年的大妈，她们早年在海外特工机构接收了最为严苛的训练，回国后曾被指派执行了许多重要的政治特工任务。但是随着年龄渐渐长大，年过四十的二人工作量直线减少，于是乎她们退休后回归到普通的大妈生活。转眼过去了21年岁月，令子成为小学理事会的会长，直美则成为照顾子孙的平凡家庭主妇，谁知以为不会再碰面的二人竟在直美孙子的入学典礼上重逢。直美偶然发现几名神秘之人在邻居家窥视，抱着疑问她和令子找到当年组织的接头地点。 　　以此为契机，沉寂已久的Salt & Sugar组合再度复活。虽然已是六十岁的大妈，但她们的实力不容小觑……

代号Salt的盐谷令子（大竹忍 饰）和代号Sugar的佐藤直美（室井滋 饰）是两个同样出生于1952年的大妈，她们早年在海外特工机构接收了最为严苛的训练，回国后曾被指派执行了许多重要的政治特工任务。但是随着年龄渐渐长大，年过四十的二人工作量直线减少，于是乎她们退休后回归到普通的大妈生活。转眼过去了21年岁月，令子成为小学理事会的会长，直美则成为照顾子孙的平凡家庭主妇，谁知以为不会再碰面的二人竟在直美孙子的入学典礼上重逢。直美偶然发现几名神秘之人在邻居家窥视，抱着疑问她和令子找到当年组织的接头地点。 　　以此为契机，沉寂已久的Salt & Sugar组合再度复活。虽然已是六十岁的大妈，但她们的实力不容小觑……

サンライズ制作でテレビアニメ化されたこともあり、1990年4月3日にテレビ朝日で放送された。アニメ版はビデオ化もされているが、現在入手するのは困難であり、一般的にはインターネットオークションなどを使用するなどしか方法がないと思われる。 　　「オバタリアン」は日本のレゲエ歌手 LITTLE BOOGIE MAN （現：BOGGIE MAN）のデビュー曲のタイトルでもある。1992年発売のアルバム『ニポニーズ・ラガマフィン』に収録され、1994年にシングル化された。この曲の内容も直接は堀田かつひこの漫画と関係は無い。 　　--------------------------------------------- 　　絹代（声：片岡富枝） 　　良夫（声：富山敬） 　　聖子（声：佐々木優子） 　　ミノル（声：坂本千夏） 　　広江（声：青木和代） 　　小百合（声：鳳芳野） 　　パワーズ博士（声：上田敏也） 　　エンマ大王（声：亀井三郎） 　　邦彦（声：堀川りょう） 　　-------------------------------------------- 　　監督：アミノテツロー 　　演出：江上潔、山口美浩、渡辺信一郎、秋山浩之 　　脚本：雪室俊一、井上敏樹、外池省二 　　音楽：田中公平 　　キャラクターデザイン：稲野義信 　　総作画監督：稲野義信

翻拍自格林童话经典之作，讲述了一个关于美德与懒惰的寓言故事：一位寡妇有两个女儿，大女儿美丽又勤劳，小女儿却丑陋又懒惰。神秘的荷勒太太用魔法让天下起大雪，为两姐妹设下考验。唯有真正善良、勤劳的人才能通过她的试炼……