恩(ēn )熙和在(⛩)(zài )日(🔪)侨胞(bāo )崔(❌)社长(zhǎng )相爱了，她(😞)看重(🛁)的并非崔(⏯)(cuī )社长可(kě )以给(⏮)予(yǔ(🦀) )自己的奢(🌍)华生(shēng )活，而是他(➖)们之间(jiān )真正(👷)的(de )爱情。恩熙偶然结识(shí )了年轻(🤵)人安先生，面对(🔺)安(ān )先生，恩熙感(🤛)受到(🤭)了(le )作为一(💰)个普通女子(zǐ )所(🍶)能拥(📞)(yōng )有的不(🏀)(bú )同的爱情，于(yú(🔺) )是恩(♈)熙离开了(🔑)崔社(shè )长决定(dì(💩)ng )和安(👋)先(xiān )生走(💇)到(dào )一起，但安先(🔠)生最(✒)终却选择(⛱)与别(bié )人结婚(hū(👷)n )，这让(🐆)(ràng )恩熙倍(🌤)(bèi )感绝望……
Mikami, a Japanese soldier serving in China, is captured by the Chinese. Although he is able to escape, his troubles are far from over. He returns to his unit but is treated with contempt for the disgrace of having been captured. Mikami falls in love with Harumi, a prostitute. She tries to convince him to desert from the army, with fatal results
美(🆒)少年(🙂)石卿偕(xié(👟) )好友平(píng )豪由香(⬜)(xiāng )港到曼谷找(🐩)尋(xún )久無音訊的父親。石父原(yuá(👇)n )是大富(fù )商，唯(😱)因生意(yì )失敗，早(🕡)已去(🥦)世。石卿失(🕌)(shī )望之餘(yú )，躑躅(🔷)街頭(📃)，巧遇故友(🛠)劉坤，但(dàn )劉坤也(📃)(yě )囊(🥞)空如(rú )洗(📶)。三人同病(bìng )相憐(📚)，但處(👒)變不驚(jī(📄)ng )，盡罄(qìng )所有，瀏覽(♏)曼(mà(🎥)n )谷如畫(huà(🛍) )風光，苦中尋樂，尋(🤟)找機(🎤)(jī )會。酒(jiǔ(🏚) )店鄰房(fáng )有富裕(🚥)(yù )華(🗂)僑陳士清(🥖)者，被娛樂商(shāng )人(🏟)胡得(dé )標所悉(👩)(xī )，出盡手段，要他作巨額投資。陳(🔯)士清(qīng )見石卿(👝)(qīng )相貌與己十分(🤟)(fèn )相(🏨)似，要石冒(🎏)充自(zì )己，與(yǔ )胡(🌐)得標(🏪)(biāo )敷衍，石(🎪)卿見(jiàn )士清願付(🦕)極高(💨)代價(jià )，大(⏭)喜(xǐ )應承。石卿三(🍴)人風(👬)流(liú )成性(✂)，此時既有大(dà )疊(🈲)美金(🌪)(jīn )在手，乃(📰)欲盡(jìn )情享樂(lè(📉) )一番(🛷)... ...
一个记者(😕)正在寻找一(yī )条(🍠)独家(🐱)(jiā )新闻，会(😎)见一位部长的女(🍶)儿，与她展开(kā(📧)i )生意，损害了(le )自己的妻子。
Probably the most controversial of Woolley's films, because of an audio rape sequence with flashes of nudity that split critics and viewers (especially feminists) right down the middle – some saying it was exploitative, others saying it was essential to get the formalist message (that we are all voyeurs in the cinema, often viewing at the expense of women) across. The film tells the tale of a housewife (who we never totally see, but can hear) trapped in her luxury house at the mercy of a husband and ruthless police team investigating an illusory political crime that she may or may not have committed. Her husband (the only character we see in a conventional manner) comes in and out of the story and alternates between patronising solicitousness and cold anger. The whole is constructed around a relentlessly repetitive sequence of shots that, in the course of the film, moves ten times from wide shot exterior to intimate interiors, with the story being updated and narrated every time we return to the exterior. In each sequence, there is one POV handheld shot that varies and is usually from the wife's point of view; otherwise the story is told within the confines of the repeating images (same framing and camera movement) with only the action varying. Voiceovers narrate and reflect on a woman's position, as well as dominant male perspectives, in society.
Variation, based on the book by Hiroyuki Itsuki, a novelist especially popular with women, was the final work of the late Nakahira. His previous themes of first love, disppointment, anguish and tenderness are projected as the undercurrent to this story of the renewed love of two former university students. They meet dramatically who Morii, a political radical on the run from the police, is concealed by Kyoko while performing a puppet show at the university. Their affair is cut short when Morii is forced to go into hiding. When they renew their affair ten years later after an accident meeting in Paris, the same desperation inherent in their young love again clouds their relationship: Morii's fugitive years have subjected him to a stress which has made him impotent, and once again Kyoko is plagued by Morii's inability to love her totally. Only escape seems to hold hope for reconciling their situation, and the two plan to steal away to the south of France but it seems that the couple are doomed to play only a variation on the same tragic theme of their love.
剧情(🔶)：这部不可(kě )理性分(fèn )析的影(💷)(yǐng )片，剧情也非(💟)(fēi )常简单，主要为(🌒)秦(qí(👤)n )汉为了(le )向(🌍)老同(tóng )学车轩要(😦)回借(👳)(jiè )去的钱(🤰)，缠着车的(de )未婚妻(👒)(qī )林(🚈)凤娇(jiāo )一(🔳)起寻找车，并想二(💯)人日(😢)久生情(qí(🏞)ng )……