電影節目
Programmes

3/6 4:00pm
星影匯 The Metroplex

購票 Ticketing

5/6 7:45pm
香港藝術中心電影院 Hong Kong Arts Centre Cinema

購票 Ticketing

狂走情死考 Running in Madness, Dying in Love


日本|1969|72分鐘|彩色及黑白|數碼
日語對白,中英文字幕
導演、出品人、策劃:若松孝二
編劇:出口出(即足立正生) 出品:若松製作
演員:吉澤健、武藤洋子、山谷初男、佐藤重臣、足立正生

左兵,一位在六十年代末參與新左翼運動的青年人,他在新宿騷亂期間和機動隊衝突,負傷回家後和做警察的哥哥發生激烈爭論。哥哥的妻子欲勸阻二人,爭持糾纏下哥哥意外被殺。左兵與哥哥的妻子其實一直互相暗戀對方,為了逃避警察的追捕,兩人決定逃離東京,在大雪紛飛下,輾轉東北各地,亡命北海道。相比若松其他總是集中在幾個場景、情感冷酷的密室劇,本片是一部充滿愁緒的公路電影。片中兩人在北海道嚴寒下遇見女子沿海邊裸跑、被村民拷打的場面更堪稱為經典。

Japan|1969|72 min|Colour, B&W|Digital
In Japanese with Chinese & English subtitles
Director, Presenter, Planner: Koji Wakamatsu
Screenwriter: Masao Adachi (as Izuru Deguchi)
Production: Wakamatsu Productions
Cast: Ken Yoshizawa, Yoko Muto, Hatsuo Yamaya, Shigechika Sato, Masao Adachi

An injured anarchist escapes a violent protest and hides in his brother's home. During a heated argument between him and his police brother, his sister-in-law fails to stop the fight, as his brother is accidentally shot to death. The young activist and his brother's wife then go on the lam. They leave Tokyo, pass through the snowy northeast and meet their destiny at Hokkaido. Unlike Wakamatsu's usual chamber drama, this is a gloomy road movie with classic scenes such as the beating of a naked woman on a freezing beach.


二度處女GO GO GO Go, Go Second Time Virgin


日本|1969|65分鐘|黑白及彩色|數碼
日語對白,英文字幕
導演、出品人、策劃:若松孝二
編劇:出口出(即足立正生及小水一男)
出品:若松製作
演員:小櫻MIMI、秋山道男、今泉洋

在東京某大廈的天台,少女被青年羣黨擄劫輪姦,少年在旁目擊一切。事後少女向少年傾訴,希望少年結束她的生命。兩人開始談論性愛和死亡,展開一段天台情緣……電影從開始到中段與一般粉紅情色電影沒多大分別,然其後展開的故事,結構和手法都很有實驗性和野心。把大廈天台當成密室空間來處理,亦是若松一貫的作者風格。

Japan|1969|65 min|B&W, Colour|Digital
In Japanese with English subtitles
Director, Presenter, Planner: Koji Wakamatsu Screenwriter: Masao Adachi & Kazuo 'Gaira' Komizu (as Izuru Deguchi)
Production: Wakamatsu Productions
Cast: Mimi Kozakura, Michio Akiyama, Hiroshi Imaizumi

On a rooftop in Tokyo, a teenager witnesses the gang rape of a young girl. Boy meets girl, who hopes that he will put an end to her life. Soon they began a relationship while talking about sex and death. The first half of the film is no different from other pink films. Yet soon the story takes an experimental and ambitious turn. Turning the rooftop into an enclosed chamber is consistent with Wakamatsu's signature style.