当年，藤堂幸男（地曳豪 饰）因抢劫、持械等罪名锒铛入狱，七年牢狱之灾后，经历了无数磨难的他重获自由。并辗转找到当初和他一起实施抢劫却临阵脱逃的浩平。幸男无心向已经建立了幸福家庭的浩平复仇，他希望能找到根本没到场的另外一名同伙洋次。在此之后，幸男来到一间清冷的酒吧，拜访了 狱友隆一的妻子。服刑期间，幸男突发高烧，隆一为了帮他求医而和狱警发生冲突，最终含恨死去。幸男与狱友正和（井浦新 饰）相约，活着走出大牢向剥夺了他们幸福的人展开复仇。不久，他来到位于海边的海鸥宾馆，那里的老板正是洋次，而他也遇到一名神秘的白衣女子……
本片根据船户与一同名原作改编。

ある山村。肺病家系と言われ村八分にされ暮らしている兄と妹。そして悲劇は起きた。縛り上げられた兄の目の前で妹が村の男たちに凌辱されてしまう。そのショックで妹は発狂し、兄は村中を惨劇の場へと落とす復讐の鬼と化すのだった…。日本犯罪史上に残る惨劇“津山三十人殺し”をモデルにした作品。

不知什么原因，17岁的少年（柄本佑 饰）用金属球棍杀害了他的母亲。在此之后，少年骑上单车，一路北上，16天内总共行程1300公里，途经六日町、柏崎、象泻、男鹿半岛等地。期间，他邂逅了痛陈日本二战罪恶的退伍老兵、面临渔业凋零却无计可施的渔民以及当年被迫来至日本而毕生思念故土的朝鲜老妪。少年沉默寡言，从未作过多盘桓，他只知一路狂奔，却不知未来将在何方……
本片根据真实事件改编。2000年，日本岡山县发生17岁少年用金属球棍击杀亲生母亲的骇人事件，少年于16日在秋田被捕。片中曲由友川カズキ担任，男主角及影片标题由柄本佑负责，他同时也是日本演技派演员柄本明之子。

大学生原田（村冈博 饰）、辍学的学生松本（坂口俊正 饰）和工厂工人大泽（城一也 饰）生活在一间局促简陋的公寓内。三人皆来自青森乡下，穷困潦倒的生活让他们对社会和富人充满了憎恨。某天他们搭火车前往网走市（石井辉男电影《网走番外地》的拍摄地）散心，在海边强暴了一位富家千金。
回到东京的三人愈发显得堕落和愤世嫉俗，他们偷窥隔壁媾和的男女、和宣传学生运动的女生吵架、强暴在东京担任女招待的同乡知惠子（东条瑛 饰）。随着同伴大泽的意外身亡，他们的自毁之路逐渐走到尽头……

A bunch of young hipsters kidnaps a loving couple and keeps them trapped in a barren landscape. To the sounds of free jazz they are performing various experiments with the couple. In the distance is a yakuza gang keeping track of the youths. Who are really experimenting with whom?

20世纪60年代，从战争阴影中走出的日本进入复苏的第十个年头，而社会也有此进入动荡不安的阶段，各种思潮激烈碰撞，人人都在时代的迷雾中失去方向。在共产主义思想蔚然成风之际，推崇新民主主义的学生持丸博（涉川清彦 饰）、森田必胜（满岛真之介 饰）等人走到一起。以此为契机，他们结识了业已成名的战后日本文学界代表人物三岛由纪夫（井浦新 饰）。三岛推崇“尊皇讨奸”的复古思想，强力鼓吹自卫队重拾大和民族和武士阶级的自豪感。然而他的声音除了其所成立的楯之会热血青年应声附和外，鲜少得到认同。
跨越了波澜澎湃的十年，1970年11月25日这天，看不到未来的三岛带着森田、古贺浩靖（岩间天嗣 饰）、小贺正义（永冈佑 饰）、小川正洋（铃之助 饰）等4名年轻人，朝着人生最重要的时刻迈进……

*Shinjuku Mad* was one of
Koji 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.

Go, Go, Second Time Virgin is the story of two damned and abused teenagers who meet and fall in mutant love on a Tokyo rooftop. Their only hope is to cement their love with an escape into oblivion.

A chubby, bicycle-riding rapist/killer dispatches 13 people in a cold, bloody, detached rampage.

Based on the factual case of a young man who broke into a nurses' home in Chicago, mutilating and killing several of the inmates, Wakamatsu's film is a precise, sad delineation of a particular aspect of masculine sexual consciousness.

日本映画を撃ちぬいた猛烈な毒と才能、映画監督若松孝二(1936年4月1日 - 2012年10月17日) 初DVD化作品を含む復刻シリーズ第一弾!
「俺が死んでも映画は残る。映画に時効はない。」(若松孝二)
◎大ヒットした日本暴行暗黒史シリーズ。初DVD化。
◎本編表記タイトル「日本暴行暗黒史 暴虐魔」。
◎主役の丸木戸義雄を演じるのはアメリカでの評価された幻の映画監督、山下治。
◎脚本は日本赤軍に合流し、国際指名手配された経験を持つ異端の映画作家、足立正生(出口出名義)。
◎1945年(昭和20年)から1946年(昭和21年)にかけて、暗黒史に残る強姦殺人魔、小平義雄が東京とその周辺で起こした連続強姦殺人事件をモデルにした映画。小平の名前は犯罪史に深く刻まれ、後年、映画「男はつらいよ」で“泥棒の始まりが石川の五右衛門なら、助平の始まりが小平の義雄! "と寅さんの口上に登場する。
◎「小平は可愛いい。僕は好きなんですよ。彼は自分を受け入れた女は殺さない。自分を拒否した女を殺すんです。親切にするつもりが変にとられて殺した。実際に洞窟の中で死体と生活して、死体と会話していた。」(若松孝二談)
【ストーリー】
青年、丸木戸義雄は気弱な青年であり、目立たぬような地味な生活を送っている。しかし、丸木戸は深く大きな闇を秘めていた。女性を強姦し、殺しては死体を洞窟にコレクションし、その死体たちに語りかける日々が続いていくが…

1971 film directed by Masao Adachi, Kōji Wakamatsu

20世纪60年代，安保运动如火如荼，日本社会动荡不安。这份躁动肆意延伸，继而连家庭亲人间也无法避免。青年左兵（吉沢健 饰）是全共斗的一名成员，时常活跃在革命运动的第一线。而他的哥哥则是一名警察，不同的阶级立场令流着相同血液的兄弟俩时常发生争吵。某个晚上，愤怒的哥哥对左兵拳脚相向，嫂子袖里（武藤洋子 饰）从旁奋力阻拦，却无意间枪杀了丈夫。
在此之后，左兵将哥哥伪装成自杀的场面，随后带着袖里逃亡。逃亡期间，袖里为自责所折磨，痛苦不堪，这两个同病相怜的人儿最终坠入爱河。一路向北的逃亡之旅，不知何时是一个终点……

A militant revolutionary group is torn apart by betrayal as its members descend into paranoia and sexual decadence.

20世纪60年代，日本学生运动渐次激烈，学生和政府之间的对抗朝着暴力的方向失控狂奔。某晚，登川直造（笹原茂朱 饰）、丸山国男（山川蜜 饰）等人领导的学生组织在据点内遭到警方搜捕，混乱之中，他们夺下警察的配枪夺路而逃。在经过某个漆黑巷道时，他们将手枪扔在公共厕所的洗脸盆中，被路过于此的公司青年职员铃木（秋山未知污 饰）拾得。厌倦了枯燥呆板的公司氛围以及平庸无望的生活，铃木追上众人，希望加入他们的组织。次日，登川等人的拒捕行动被媒体歪曲成袭击警察的恶性案件。为避风头，他们跟随铃木躲进郊外一所公寓中，日常以吃喝、做爱打发时间，所有外务全由铃木打理。
学运的失败和理想的破灭让这群年轻人朝向破灭，纵情享乐。铃木却不愿面对这样的失败……

八百比丘尼，欲海泛慈航。最后一幕，血一样的夕阳染红海面，海边的少年对着大海呼唤不死的比丘尼，赤浪中比丘尼缓缓现身，一瞬间，鲜红的山茶花绽放。goo映画的内容简介写得准确且文笔甚佳，值得参考。松田英子、鹿沼えり和浅野温子的体与颜。浅野是年16岁，看过的日文评论几乎都在谈论她的裸身出镜。

这是若松孝二的一部传记电影，这部传记的主人公是日本自由爵士萨克斯风手阿部薰，这个人与普罗大众最大的联系可能就是他的表亲坂本九（代表作Sukiyaki是唯一一首以日文形态攻上billboard榜首的流行曲）了。即便是在圈内，他的爆裂乐风和脾气也使很多乐手敬而远之，比较重要的合作仅限于高柳昌行、吉泽元治和丰住芳三郎等几位，大部分都是solo专辑。
片子的主题围绕他和妻子铃木泉之间的关系展开，第一个镜头她就准备上吊，从一开始酒馆相识、拍拖、领证、生子，到最后阿部薰药物过量死亡（或自杀）、葬礼，然后又回到第一个镜头。。讲了一个完整的故事。导演把重点放在他们俩关系和阿部薰音乐的互动上。从一开始的热恋，到婚后永无休止的吵架、打斗、做爱、复合，孩子出生后片刻的宁静与温馨，紧接着又是乱斗、怀疑、冷漠、精神崩溃、出走、回归，最后是死亡。与其对应的是其间穿插的sax练习和现场演出，从起初无比快速爆裂永不停歇的风格到中期略带自省的节制和后期温情又绝望的悲号……
directed by Koji Wakamatsu （若松孝二）
Shochiku and Wakamatsu productions
The film was first run in 1995
The video was released 1997. (Now deleted)
video - Tokuma Japan Communications - TKVU 61481 - 102 minutes
This is a biographical film of Kaoru Abe （阿部薰）, legendary improvisational sax player.
Haino appears in the film as himself.
Features brief Fushitsusha （不失者）performance.

Two of the most radical student groups form the United Red Army (URA) and head into the mountains to conduct a training camp. Ideology devolves into despotism, and the URA's leaders begin to arbitrarily persecute their followers, a harrowing ordeal that culminates in violence and murder.