徳田秋声原作。夫（田宮二郎）と姪（水谷良重）の不倫現場（と言っても自分の家なのだが）に踏み込んだ若尾ちゃん、三つどもえのバトルシーンはすごい迫力だった。自動車セールスマンの夫が前妻に払った慰謝料が２００万円。交渉過程で前妻が「１０００万円欲しいわ」という科白がある。今の感覚だと１億円というところだろう。腰が曲がった若尾の祖母が６８才でまだ元気だ聞くと、夫は「へえ、長生きだねえ」と言う。今の感覚だと、こちらは８８才かな。

The Kinema Junpo critics were, of course, mistaken to think that Naruse had abandoned his emphasis on women. His next film, Sincerity, features two strong female characters, played by Irie Takako and Murase Sachiko, each of whom have a daughter. The girls are schoolmates, but one (Nobuko) is from a middle-class home and the other (Tomiko) is from a poor family. Tomiko's mother Tsutako (Irie) is a single mother who works from home as a seamstress, while Nobuko's mother lives in an elegant home with her husband, Kei. Eventually, it is revealed that Kei had a romantic relationship with Tsutako, and may be Tomiko's father as well, but he is conscripted shortly after this revelation and goes off to war. 　　This is very much a home front film, in which the women are involved in supporting activities, and the whole town cheers on the new recruits. As Kei is a banker, he is conscripted as an officer. He is introduced brandishing a magnificent sword, indicating his readiness for his call-up, for which everyone congratulates him when it comes. The wartime context is little more than a backdrop to the story of paternity and former love. The complex emotions among the women are conveyed through cutting on eye movements and eye lines, and through the use of the pastoral location.

The Kinema Junpo critics were, of course, mistaken to think that Naruse had abandoned his emphasis on women. His next film, Sincerity, features two strong female characters, played by Irie Takako and Murase Sachiko, each of whom have a daughter. The girls are schoolmates, but one (Nobuko) is from a middle-class home and the other (Tomiko) is from a poor family. Tomiko's mother Tsutako (Irie) is a single mother who works from home as a seamstress, while Nobuko's mother lives in an elegant home with her husband, Kei. Eventually, it is revealed that Kei had a romantic relationship with Tsutako, and may be Tomiko's father as well, but he is conscripted shortly after this revelation and goes off to war. 　　This is very much a home front film, in which the women are involved in supporting activities, and the whole town cheers on the new recruits. As Kei is a banker, he is conscripted as an officer. He is introduced brandishing a magnificent sword, indicating his readiness for his call-up, for which everyone congratulates him when it comes. The wartime context is little more than a backdrop to the story of paternity and former love. The complex emotions among the women are conveyed through cutting on eye movements and eye lines, and through the use of the pastoral location.

新疆乌恰县医院院长吴登云，是从南方城市扬州来支援边疆的，他带着妻子女儿在乌恰扎下了根。 吴院长长年累月地巡回医疗，很少同妻子女儿团聚。妻子阿芬强忍着孤寂和思乡之情。一年的大年除夕，阿芬想给女儿燕子买一件新衣服，没想到，她辛辛苦苦积攒的钱都不见了，原来是吴登云拿去帮助了无钱买药的病人。吴院长经常这样做，使得家中生活十分窘迫。 一个生命垂危的烧伤儿童，需要植皮。在没有麻药的情况下，吴登云强忍巨大的疼痛割下自己的皮植给儿童。吴登云还经常把自己的鲜血输给病人，他心中只有病人，完全没有自己。 女儿燕子长大了，想离开乌恰去与男朋友团聚。可乌恰特别需要她这样的医务骨干，一面是女儿的幸福，一面是缺医少药的穷苦牧民，吴登云狠心要女儿留下来。 离开家乡二十多年，吴登云第一次回扬州看望病重的父亲。父亲恳求他留下，可他坚决地还要回边疆，父亲明白这次与儿子是永诀了，伤心地呜咽着。 矿工艾力江曾受到过吴登云五天五夜不合眼地抢救，病好后他带着未婚妻前来看望吴院长，深情地呼唤着他“爸爸”。 　　(以下为人物真实资料)吴登云，一个江南普通农民的儿子，二十世纪六十年代毕业于扬州医学专科学校。1963年，他从瘦西湖畔来到了被称为“万山之祖”的新疆帕米尔高原，将自己的青春投身于边疆的医疗事业，在乌恰一干就是37年。在这37年中，他用自己的身心和血肉挽救了一批批生命垂危的病人，培养出一批批土生土长的柯尔克孜族医生，创建了一座园林式医院。他可歌可泣的人生历程，赢得了边疆人民由衷的爱戴和赞誉。吴登云忠实履行了人民医生救死扶伤的崇高职责，他为边疆人民的健康，为边疆的改革与发展做出了巨大的贡献，他是人民心中的白衣圣人。

新裤子主唱彭磊的第三部个人电影。第一部是《北海怪兽》，第二部是《熊猫奶糖》。

Five college students go on a camping trip that leads them to a horrible secret. With no way home after the brutal murder of one of their friends, the group must battle an evil cult and a ravenous gay yeti. But the yeti might not be so bad after all...

在巴黎惨遭女友抛弃的中年失意大叔托马斯回到匈牙利修养，却翻出自己年轻时写下的一首首稚嫩的烂情诗。记忆一下子被推回到往日时光。曾经的浪漫花海为何变成一片贫瘠；往日的“我爱你”为何落得分手再见；曾经的快乐少年为何成为发福大叔。托马斯试图从记忆中寻找出缘由，却发现在成长中所有的喜怒哀乐，所有的爱与恨，都不过是人生的珍贵体悟。或许爱会消逝，但青春不过就是一首绚丽的烂情诗。

一名13岁的男孩，在1880年代堪萨斯州父母去世后，不得不独自照顾自己和弟弟。他因意外杀死一名当地牧场主而被判绞刑，在此之后，他与长期疏远的祖父一起开始了逃亡之旅。

一名13岁的男孩，在1880年代堪萨斯州父母去世后，不得不独自照顾自己和弟弟。他因意外杀死一名当地牧场主而被判绞刑，在此之后，他与长期疏远的祖父一起开始了逃亡之旅。

爛頭殼 L.T.K. 　　2001 DV Color 95min. 　　Stinky Pussy Visuals Co. 　　一部充滿視覺暴力感官與台式文藝青年趣味的樂團公路電影。拍攝期長達半年多，從台北、高雄、花蓮到墾丁。從練團室、錄音室，到聖界、地下社會。期間經歷了總統府前跨年表演、新專輯「臭死了」錄製發行過程、反中國併吞環島巡迴、二二八公園演出，以及最瘋狂的蛇年春天吶喊。它紀錄的不只是濁水溪公社，也紀錄了2000-2001年台灣獨立音樂圈的樣貌。 　　LTK, arguably the most influential rock band amid the independent music scene of Taiwan, consistently creating its highly distinctive music style and original punk attitude from the last 15 years. The inimitable combination of radical political consciousness, staggering stage performances and catchy melodies makes it an extraordinary phenomenon between its social and historical meanings. This documentary is a graphic portrait about a struggling band at its pivotal crossroad. 　　毛致新 Mao Jr-Shin 　　1979年生於台北縣，台南藝術大學紀錄所四年級。作品：《爛頭殼》、《桃花過渡》、《便秘蒙太奇》。 　　陳德政 Chen Te-Cheng 　　1978年生於台南市，自由樂評人，留學紐約中。作品：《爛頭殼》。