大学毕业将至，林萧（杨幂 饰）、南湘（郭碧婷 饰）和唐宛如（谢依霖 饰）这三个好朋友紧张备战考试，而顾里（郭采洁 饰）早已修完所有学分，轻轻松松等待出国深造时刻的到来。在这个人生和心境都面临着巨大变革和震荡的时刻，很多事情开始发生改变。刚刚完成实习的林萧和简溪（李悦铭 饰）的恋情走向穷途末路；顾里一方面与顾源（柯震东 饰）各种冷战，而她和南湘的男朋友席城（姜潮 饰）的隐秘之事也被挑明。唐宛如与卫海（杜天皓 饰）有缘无分，在一厢情愿的过程中受尽屈辱。看似情同手足、亲密无间的好姐妹，她们的关系在顾里的生日派对当天走向崩溃……
妈妈桑圭子（高峰秀子 饰）是银座Club的老板娘，年届三十，正值人生转折期，面对着再婚与事业的抉择犹豫不决。圭子早年丧夫，婚姻一直没有起色，事业方面生意也日渐冷清，心境萧条的她只将生活重心放在照顾年轻一代的公关小姐純子、雪子们身上。Club年轻的经理（仲达代矢 饰）暗恋圭子，但以事业为重的他不愿表白，则通过与雪子的肉体关系来淡化心里对圭子的情愫。然而，难以控制的情感让他最终鼓起勇气表白，心境苍凉的圭子会接受吗？ 战后日本大众悱恻的心境在大师成濑巳喜男冷静的长镜头下表露无遗，该片风格是浓重的现实主义色彩，以一个女人的独白贯穿始末，具有浓郁的文化气息。
1978年深秋，在一座依山傍水、幽静孤立的小楼里，闲居多年的李力将军热切渴望能重新出来工作。恰在此时，他与失散21年的老朋友周芹重逢了，他们回忆起往事：1949年秋，刚从美国留学归来在东方大学任英文讲师的周芹，由于继续用英语讲课，遭到激进学生的围攻和军代表的责难。这时，军管会秘书长、东方大学校友李力来到自己母校，他宣布，东方大学就是东方大学，它需要为我们培养出多方面的人材。也正是这一次，李力结识了周芹和外语系学生林书痕。李力多方保护和支持周芹，后来，周芹在李力和林书痕之间充当了红娘。婚后不久，李力帮助一个有所谓"特嫌"的教会大学生物系毕业生梁九邨，并为他安排了工作。接着李力奉命执行"改造战犯，挽救有用人才"的任务。他发现死刑犯、国民党少将特级工程师陈天寿有民族气节和真才实学，便冒着风险将陈天寿派到水电站工地监督使用。林书痕对这一切忧心忡忡。果然，军委会改组时，李力被莫名其妙地停职了。大跃进年代，复出的李力担任一个水利工程的总指挥。因无法控制泥沙淤积，在技术处工作的陈天寿建议这个工程暂时下马，却不料触怒了李力，他将陈天寿赶出技术处，下放到桥梁工地。在一次排险时，陈天寿壮烈牺牲……回顾往昔，面对现实，李力陷入深深的思索。他仍然渴望重新工作，但当他知道是妻子背地里在拼命阻止自己出来工作时，对妻子大动肝火。林书痕终于忍不住了，她想起20年来的风雨坎坷，心痛欲碎。夜晚，李力接到了老首长赵司令员要他出来重新工作的信，兴奋不已。第二天清晨，林书痕怀着极其复杂的心情为丈夫送行，她用担忧的目光看着丈夫乘坐的吉普车迎着朝阳在颠簸的路上疾驶远去……
上海滩十里洋场，是无数人追梦的乐园……天生神力的青年马永贞（伍允龙 饰）从家乡来到上海谋生，在当时占有上海一半势力范围的老帮派斧头帮治下谋得一份苦工，岂料因同伴窃取斧头帮的鸦片，在后者发难之际与同住贫民区的老铁（洪金宝 饰）将工友救下，为了追踪那批鸦片的下落，马永贞与上海另一半势力范围的主人——新近崛起的龙七（安志杰 饰）不打不相识，并因为受到斧头帮排挤，不得不与同伴们投奔龙七。因秉持母亲的教诲，马永贞无意加入龙七的帮会，但龙七不以为意，反与之结为知交。不久，那批鸦片的真正主人——日本人为了介入上海，利用斧头帮和龙七的矛盾欲置龙七与老铁等人于死地，马永贞忍无可忍，誓要复仇……
*Shinjuku Mad* was one ofKoji 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.
6.0双镖