From http://theculturalgutter.com/movies/kamikaze_hearts_of_gutter_punk_lesbians.html 　　Robin Bougie is the creator of Cinema Sewer magazine. 　　Kamikaze Hearts of Gutter Punk Lesbians 　　by Robin Bougie 　　Make-believe, addiction, despair, two-bit sleaze and two-bit dreams.During the 揝haron Mitchell film festival?held at the Coolidge Corner Theater in Boston on June 6th 2000, the legendary porn queen showed clips from her XXX films spanning her 3 decades long career and provided a running commentary for the audience. Sharon held the crowd in rapt attention while she revealed the title from which each clip was taken, the director and, when she remembered, anecdotes about the cast and what drug she was on at the time the footage was shot. It was usually heroin or marijuana, and in some cases, both. One such example was the ultra-rare documentary KAMIKAZE HEARTS, which also depicted Mitchell ?then addicted ?passionately defending drug use. 　　揔amikaze Hearts? wrote the L.A. Weekly of the now-forgotten film back in 1986, 揹rags you to a certain place ?the world of lesbian-junkie porn stars ?and keeps you there for 80 minutes. If you抮e excited by that place, or even if you find that place disturbing, you抣l like this film because it抯 so relentlessly inside the world of naked bodies, make-believe, addiction, despair, two-bit sleaze and two-bit dreams.? 　　It抯 a documentary, but director Julie Bashore抯 film is harder to peg than simply that. This one-of-a-kind 16mm porn industry time capsule shifts nearly unnoticed between the real and unreal, as Mitchell and company become actors portraying themselves in reenactments of scenes leading up to and following the footage a documentary camera crew captured while behind the scenes of a cum-coated mid 80抯 porn film. 　　And when I say 慴ehind-the-scenes? I mean it. Usually unseen crew members are brought out into the open as they capture the performers either fucking one another or waiting around to get the chance to do so. Look, there抯 a young Marian Wilde holding the boom. She would later go on to be foley editor on dozens of Hollywood films such as THE PHANTOM MENACE and RAIN MAN. Sitting on the sidelines watching drug-addled Sharon flop on the carpet and contort herself into a nearly nude ball and go 揘yha nyha nyha?is still photographer Vincent Fronczek. Listen very carefully in an early scene, and hear small fry fuck-actress Jennifer Blowdryer having a background conversation where she unwittingly admits that she started in porn when she was only 17, and falsified age documents in order to work. 　　When the film premiered (and won the 揃est Feature Film?at the Torino Intl Gay and lesbian film fest) The Chicago Reader抯 Johnathan Rosenbaum called it 揂lternately distressing, instructive, contestable, and fascinating? and he抯 totally right. Mitchell comes off as seasoned and cynical, while also talks of being a shame-free exhibitionistic personality in front of the camera and otherwise. Her lover and co-star in KAMIKAZE HEARTS is Tigr (pronounced 揟igger? Mennett, production assistant and porn actress who was featured in roughly forty 70抯 and 80抯 pud-pullers of her own. Her career ended right about the time this film came out in 1986, but look for her in ball-drainers such as DR. BIZARRO, 8 TO 5 (as Chelsea McCleane), and MATINEE IDOL (as Chealsea Manchester). The unusual blend of reality and fiction she and Mitchel bring to KAMIKAZE HEARTS tastes like skid row while laying bare the stormy gutter-punk relationship between the two women. 　　揥hen I first met her I thought she was sleazy?Tigr tells the audience of Mitchell, (whom everyone calls 慚itch?for short) 揝he needed to make a living, she was fucking on camera - I thought she was just another dumb porno slut. But I was wrong.? 　　Filmed on location in San Francisco, the notorious original home of the XXX film industry, the two scrounge around in a semen-soaked seedy world colored by strip joint punch-outs, after party arguments, kinky sex, and egotistical sleaze-ball directors. These two are thrillingly unapologetic about the fact that they use heroin as a shield while traversing through this gritty 24 hour party lifestyle, and the camera is there to catch what it can, and reenact what it can抰. 　　揟he camera抯 presence?wrote Rosenbaum, 揾as a shifting role in the film, moving from seemingly impartial witness of certain events to stimulus and catalyst for certain others, and this tends to confuse and change one抯 relationship to both the film and its characters.? 　　Mitchell initially introduced Tigr to intravenous drugs years previous to the filming of KAMIKAZE HEARTS, and in one of the final scenes in the film, the two lie on a bed and hit up while on camera. Mitchell brings the point home with the kind of wisdom only found in junkie babble. 揟his is the truth.?she says as she stares into the camera after pulling the needle out of her arm, 揧ou got what you want. You did not have to put it in. You could give it to me. I抣l put it in my movie. There is no legitimate or illegitimate anything. No one dragged you into anything. This [she holds up a needle] was my dick and I fucked her with my dick. And I waited for this relationship to mature. This is a movie within a movie within a movie. This is timeless.?

From http://theculturalgutter.com/movies/kamikaze_hearts_of_gutter_punk_lesbians.html 　　Robin Bougie is the creator of Cinema Sewer magazine. 　　Kamikaze Hearts of Gutter Punk Lesbians 　　by Robin Bougie 　　Make-believe, addiction, despair, two-bit sleaze and two-bit dreams.During the 揝haron Mitchell film festival?held at the Coolidge Corner Theater in Boston on June 6th 2000, the legendary porn queen showed clips from her XXX films spanning her 3 decades long career and provided a running commentary for the audience. Sharon held the crowd in rapt attention while she revealed the title from which each clip was taken, the director and, when she remembered, anecdotes about the cast and what drug she was on at the time the footage was shot. It was usually heroin or marijuana, and in some cases, both. One such example was the ultra-rare documentary KAMIKAZE HEARTS, which also depicted Mitchell ?then addicted ?passionately defending drug use. 　　揔amikaze Hearts? wrote the L.A. Weekly of the now-forgotten film back in 1986, 揹rags you to a certain place ?the world of lesbian-junkie porn stars ?and keeps you there for 80 minutes. If you抮e excited by that place, or even if you find that place disturbing, you抣l like this film because it抯 so relentlessly inside the world of naked bodies, make-believe, addiction, despair, two-bit sleaze and two-bit dreams.? 　　It抯 a documentary, but director Julie Bashore抯 film is harder to peg than simply that. This one-of-a-kind 16mm porn industry time capsule shifts nearly unnoticed between the real and unreal, as Mitchell and company become actors portraying themselves in reenactments of scenes leading up to and following the footage a documentary camera crew captured while behind the scenes of a cum-coated mid 80抯 porn film. 　　And when I say 慴ehind-the-scenes? I mean it. Usually unseen crew members are brought out into the open as they capture the performers either fucking one another or waiting around to get the chance to do so. Look, there抯 a young Marian Wilde holding the boom. She would later go on to be foley editor on dozens of Hollywood films such as THE PHANTOM MENACE and RAIN MAN. Sitting on the sidelines watching drug-addled Sharon flop on the carpet and contort herself into a nearly nude ball and go 揘yha nyha nyha?is still photographer Vincent Fronczek. Listen very carefully in an early scene, and hear small fry fuck-actress Jennifer Blowdryer having a background conversation where she unwittingly admits that she started in porn when she was only 17, and falsified age documents in order to work. 　　When the film premiered (and won the 揃est Feature Film?at the Torino Intl Gay and lesbian film fest) The Chicago Reader抯 Johnathan Rosenbaum called it 揂lternately distressing, instructive, contestable, and fascinating? and he抯 totally right. Mitchell comes off as seasoned and cynical, while also talks of being a shame-free exhibitionistic personality in front of the camera and otherwise. Her lover and co-star in KAMIKAZE HEARTS is Tigr (pronounced 揟igger? Mennett, production assistant and porn actress who was featured in roughly forty 70抯 and 80抯 pud-pullers of her own. Her career ended right about the time this film came out in 1986, but look for her in ball-drainers such as DR. BIZARRO, 8 TO 5 (as Chelsea McCleane), and MATINEE IDOL (as Chealsea Manchester). The unusual blend of reality and fiction she and Mitchel bring to KAMIKAZE HEARTS tastes like skid row while laying bare the stormy gutter-punk relationship between the two women. 　　揥hen I first met her I thought she was sleazy?Tigr tells the audience of Mitchell, (whom everyone calls 慚itch?for short) 揝he needed to make a living, she was fucking on camera - I thought she was just another dumb porno slut. But I was wrong.? 　　Filmed on location in San Francisco, the notorious original home of the XXX film industry, the two scrounge around in a semen-soaked seedy world colored by strip joint punch-outs, after party arguments, kinky sex, and egotistical sleaze-ball directors. These two are thrillingly unapologetic about the fact that they use heroin as a shield while traversing through this gritty 24 hour party lifestyle, and the camera is there to catch what it can, and reenact what it can抰. 　　揟he camera抯 presence?wrote Rosenbaum, 揾as a shifting role in the film, moving from seemingly impartial witness of certain events to stimulus and catalyst for certain others, and this tends to confuse and change one抯 relationship to both the film and its characters.? 　　Mitchell initially introduced Tigr to intravenous drugs years previous to the filming of KAMIKAZE HEARTS, and in one of the final scenes in the film, the two lie on a bed and hit up while on camera. Mitchell brings the point home with the kind of wisdom only found in junkie babble. 揟his is the truth.?she says as she stares into the camera after pulling the needle out of her arm, 揧ou got what you want. You did not have to put it in. You could give it to me. I抣l put it in my movie. There is no legitimate or illegitimate anything. No one dragged you into anything. This [she holds up a needle] was my dick and I fucked her with my dick. And I waited for this relationship to mature. This is a movie within a movie within a movie. This is timeless.?

阿杜（素格力·威塞哥 Sukrit Wisetkaew 饰）是一名私生子，一天，母亲带着他来到父亲家门前，希望父亲能够收留无家可归的母子两人，可是那天父亲不在家，开门的是父亲的正房，两人遭到了正房非人的对待，最终，母亲含恨而死。而阿杜则被姗姗来迟的父亲领进家门，开始了寄人篱下饱受欺凌的生活。 　　唯一对阿杜好的，是邻居家的女儿阿明（培查雅·朝瓦莉 Pitchaya Chaowalit 饰），但阿明能够带给阿杜的温暖毕竟是有限的。一场意外中，阿杜坠入海中，继母以为他已经死了，可实际上，阿杜幸运的被好心人所救。一晃眼十几年过去，阿杜隐姓埋名再度回到了继母的身边，他的目的只有一个，那就是复仇。

阿杜（素格力·威塞哥 Sukrit Wisetkaew 饰）是一名私生子，一天，母亲带着他来到父亲家门前，希望父亲能够收留无家可归的母子两人，可是那天父亲不在家，开门的是父亲的正房，两人遭到了正房非人的对待，最终，母亲含恨而死。而阿杜则被姗姗来迟的父亲领进家门，开始了寄人篱下饱受欺凌的生活。 　　唯一对阿杜好的，是邻居家的女儿阿明（培查雅·朝瓦莉 Pitchaya Chaowalit 饰），但阿明能够带给阿杜的温暖毕竟是有限的。一场意外中，阿杜坠入海中，继母以为他已经死了，可实际上，阿杜幸运的被好心人所救。一晃眼十几年过去，阿杜隐姓埋名再度回到了继母的身边，他的目的只有一个，那就是复仇。

至臻集团新任董事萧朗高调空降，但他有着不为人知的真实身份——他曾是至臻集团接班人独子，被继母夺走了本该属于他的一切。苏明羽曾是他悲惨童年唯一的光，改头换面的萧朗本为复仇而来，因为苏明羽的爱与坚守，又一次成为他黑暗世界的唯一救赎。

至臻集团新任董事萧朗高调空降，但他有着不为人知的真实身份——他曾是至臻集团接班人独子，被继母夺走了本该属于他的一切。苏明羽曾是他悲惨童年唯一的光，改头换面的萧朗本为复仇而来，因为苏明羽的爱与坚守，又一次成为他黑暗世界的唯一救赎。

故事发生在南方某座城市。吴天河和秦永昌是建筑公司的卡车司机，秦永昌不幸坠崖身亡，留下5岁遗孤秦阳，被吴天河领养。公司老板送来5千块抚养费，被队长余全偷走。吴天河没有带回钱，因担心老婆张玉枝养活不了4个孩子，将小女儿吴雪带走。秦阳改名为吴阳……

该剧将镜头对准中国一个极为普通的农民工家庭，讲述了一个重情重义的好男人吴天河和两个女人——前妻张玉枝、妻子杨海妹之间的情感历程，以及发生在吴天河与杨海妹身边的商战故事。

爱子心无尽1：里外操劳的农村家庭主妇赵娟发现丈夫宁建国竟然有了外遇，在与其争执时不慎失手将其推下高楼致死，赵娟因此获刑7年。不明真相的儿子宁洲误以为是母亲赵娟害死了自己的父亲，对其产生了极大的误解和怨恨，并与其断绝了母子关系。导致宁家家破人亡的罪魁祸首苗爱华趁机向法院申请成为宁洲的监护人，实则是为了接近宁洲以夺取宁建国留给宁洲的大笔遗产。7年后，赵娟出狱，决心要揭穿苗爱华的阴谋，岂料儿子宁洲早已认贼作母，将苗爱华视作母亲般敬爱，对生母赵娟却百般羞辱。为了阻止苗爱华的阴谋得逞，赵娟在偏瘫奶奶的坚持下以保姆身份住进宁家，遭到苗爱华及仆人的欺辱折磨。

老太太的意外受伤住院，竟然引发了家庭内部的一场小台风：一向孝顺的大儿媳妇阿珍被家人误会蒙冤，和大儿子阿强在这个时候闹起了离婚。想要攒钱买房走火入魔了的小儿媳妇阿花和儿子阿勇偷了老太太的棺材本。女儿小红虽然孝顺但是做事冲动只知道火上浇油，无意中挑起了好多争端……随着一出出家庭闹剧展开，这个家还能安稳长久吗？