老林经营着一个不大的公司，是个小老板。他一家三口，老婆在国外，儿子马上高考。老林没啥特别的爱好，他的日常很简单：除了上班、下班，在家里看看电视、吆喝吆喝儿子，就是与老友们喝喝小酒。他的生活机器也就这般，不紧不慢运转着。 入夏，老林跟一家大企业做了笔买卖，可大企业没如约付他货款，老林需要尽快讨回他的货款，不然，他的小公司可就麻烦了。自此，他的生活机器跟以前转得不一样了……

JEUXhttp://i.mtime.com/100233　　在人迹罕至的神秘原生林白神山地的外围坐落着一个渔业镇。最近，不时有人在镇上看见一只模样奇特、大得像狮子一样的白狗。这只和人不亲但惹人喜爱的大白狗总是悄然出现，倏然消失，仿佛在暗中守望着镇民们。在海边开烤章鱼铺的节子也遇到了大白狗。节子曾经收留过不少弃犬，她对这只大白狗也付出了同样的爱心。因为它毛蓬蓬的样子，节子给它起名叫“蓬夫”（日语读音为“瓦萨奥”）。　　节子发现蓬夫经常望着一名叫作彰的少年，它只是远远地看着，绝不接近。原来蓬夫小时候正是被彰丢弃的，为了再度见到彰，它从东京长途跋涉到了青森。彰虽然听说过蓬夫，但没有认出它就是自己当年扔掉的幼犬。　　彰的母亲因病长期住院。在她动手术的那天夜里，不安的彰独自前往医院，却在白神山中迷了路。这段时间，白神山地区有熊出没，大家得知彰失踪后都很着急。　　第一个发现彰遭遇危险的正是蓬夫，它不顾一切地向着白神山飞奔而去……

秋田的秘汤・玉川温泉，据说能治愈各种疾病。踏入此地，满目皆是岩石，一片荒凉之景，四处可见汤烟升腾、硫化氢气体喷出。来此的大多是身患癌症、正在与病魔抗争的人，他们从全国各地赶来，在此进行岩盘浴，一待就是一周左右。他们的神情和交谈都透着几分明朗。为了治愈疾病来到这片土地，一次次到访后，人们开始直面“为何而生、为谁而活”的问题。

在秋田港的一角，静静地矗立着一台自动售货机。这台出售乌冬面和荞麦面的售货机已有40年历史，累计销量超过40万碗。机器年久失修，面的味道越来越淡，但依旧吸引着形形色色的人来到这里，有的冒着风雪专程前来，有的每天都会来坐上一会儿……这台机器带给他们的不仅是一碗碗热腾腾的面条，还有一段段暖人心的记忆。（诸神字幕组）

ちょっと変わり者だけど、監察医としては一流の主人公と 彼に振り回される人々が織りなすヒューマンコメディ。 去年１０月にスタートした「金曜８時のドラマ」枠。 「刑事吉永誠一　涙の事件簿」、「三匹のおっさん」、「マルホの女」と放送してきましたが、 ７月クールは寺脇康文主演で「ラスト･ドクター ～監察医アキタの検死報告～」を放送いたします。 監察医の仕事は、亡くなった人の死因を究明することです。但し、ドラマでよく見るような、殺人など犯罪性のある遺体は、実は監察医務院では扱わない（大学の法医学教室が担当）等、監察医の仕事については、まだあまり知られていないことがたくさんあります。これはそんな監察医にスポットライトを当てたヒューマンコメディです。 寺脇康文演じる主人公・秋田晋也は、「生きている人間を相手するよりも、死体の方が楽」と言い放ち、他人とのコミュニケーションに少々難ある変わり者です。それでも凡人には思いつかないユニークな着眼点から、隠された死因を読み解き、亡くなった人の最期の想いを拾い上げます。 監察医とは、人が生涯の最期にかかる医師、ラストドクターなのです。 脚本は、おかしな男が主人公のヒューマンコメディの第一人者、尾崎将也。 金曜の夜。肩肘張らずにクスッと笑えて、それでいて最後に少しホロッとする。そんなドラマをお届けします。

30分钟扩大版。

故事以秋田市一家有点特别的荞麦面店为舞台。这家店晚上10点开门，通宵营业，到第二天中午左右关门，完全是昼夜颠倒。店里不仅有荞麦面，还有很多酒和下酒菜。这里聚集着各种各样的人。有喝完酒后来吃荞麦面收尾的人，有在欢乐街结束待客工作的人，还有3月时因就业或调职而惜别畅饮的人。在残雪纷飞的季节，镜头聚焦于午夜的这家荞麦面店。

Masami Akita aka Merzbow is one of the most prolific “noisicians” in the Harsh Noise genre, with over 300 releases since 1979 that range from 5 cassette sets packaged inside VHS boxes and limited edition CD-R’s to the 50 CD Merzbox and the ULTRA-limited edition of Noise Embryo that comes packaged inside a Mercedes. Merzbow takes his name (and indeed much of his inspiration) from Dada anti-artist Kurt Schwitters and his house-sized installation, Merzbau. Aside from creating his symphonies of cacophony Masami Akita has also written books and articles on extreme culture and Sadomasochism, lends his services as a freelance writer to a variety of pornography magazines and has directed / acted as consultant on various Harakiri and Kinbaku fetish films. He also scored the film Deadman 2 for the director of this documentary, Ian Kerkhof (aka Aryan Kaganof). Over the years I have managed to amass a fair amount of Merzbow’s output, but I have never really known much about the man himself, other than the fact that he digs bondage and animal rights. So when I discovered Ian Kerkhof director of the brilliant Tokyo Elegy and Nice to Meet You, Please Don’t Rape Me!, had made a documentary on this Japanese enigma, I had to find and view it immediately. The opening 20 minutes or so of the film is basically footage of Masami hanging out with some pigeons, walking the streets of Tokyo, puttering around with his electronics, etc. with some dated visual effects superimposed on top of it while a sample of his dissonance throbs on the soundtrack. Then he begins to speak about how he got into the noise scene in the late 70s/early 80s (via an article in underground German zine and tape trading), how as a youth he wanted to make music “so dreadful to listen to that it wouldn’t be considered music”, and his obsession with collecting various everyday sounds and incorporating them into his work. As the documentary progresses it is clear Mr. Kerkhof is attempting to translate the ideas of Masami and his heroes, the Dadaists to the film medium; the flow is relentlessly interrupted by cuts, splices, inserts, samples and seizure-inducing strobes making it somewhat of a task to endure (or, just fucking inane), which I’m sure is what he had in mind. Although for me the segments where these disruptions are kept to a minimum as Masami enlightens us on his inspirations and fixations were the most intriguing. Throughout the films runtime The Merz waxes philosophical on such subjects as pre and post-WWII pornography, Japan’s uniform fetish, the national significance of Sepukku / Harakiri and the distinction between the two (there’s no decapitation in Harakiri and it’s generally practiced by women), Bataille’s concepts of eroticism, Gothic architecture and much more. We also are treated to some live performances where he rocks his bizarro noise machine-cum-guitar contraption and some excerpts from his Harakiri fetish film Lost Paradise, over which he explains that in certain archaic (Japanese) religious ceremonies, to testify their utter devotion, women would offer up their entrails to the gods. Around halfway through the duration Masami pronounces my favourite quote of his: “If music was sex, Merzbow would be pornography” - for me, that pretty much sums up his work in a nutshell.