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臻選佳作
講述了一個小鎮(zhèn)對丑聞的反應(yīng)。
德浩(宋康昊 飾)是一名上班經(jīng)常遲到的銀行職員,為此沒少遭受上司奪命迷暈鎖的懲罰。為了破解上司的絕招,德浩找到當(dāng)?shù)匾患宜そ怯?xùn)練場,從基礎(chǔ)的一招一式學(xué)起,不僅成功從上司手中逃脫,更在偶然的機(jī)緣下走入摔角賽場,以“犯規(guī)王”的綽號正式出道。 不過德浩所在的摔角學(xué)校渺小破敗,周末跟師哥們?nèi)缵s場一般四處表演,觀眾寥寥。而且讓他不爽的是,作為不入流的業(yè)余選手,他只能扮演愛耍詐的肉角讓對手肆意蹂躪。眼下一名在日本修煉的摔角手學(xué)成歸來,德浩被安排與之比賽。但早就憋著一口氣的他怎能甘心做一個搞笑弱小的犯規(guī)王?
Nipple-targeting seagulls. Old men rapping in a bathhouse. Drugs smuggled as Italian pasta. Welcome back to The Mole Song’s world. The third and final part of this series of manga adaptations, by IFFR regular Miike Takashi, is once again loaded with delicious madness. Following Undercover Agent Reiji (IFFR 2014) and Hong Kong Capriccio (IFFR 2017), this time the enemy are Italian mafia smuggling their ‘speed-a-roni’ into Yokohama’s port. Yakuza boss Papilon, fearing for his business, wants to stop them from entering, and so do the Japanese cops: Reiji works for both as an undercover agent. All these complications this give cult director Miike a playground for crazed subplots. At times fooling us into thinking it’s an ordinary action thriller, The Mole Song: Final is a cocktail that smashes together slapstick comedy, farcical fantasy and puppet animation, with Reiji – played again by the energetic and engaging Ikuta Toma - always at the centre of the tornado that just keeps on spinning.
物語は1970年代、桐島の大學(xué)時代から始まる。反日武裝戦線の活動に共鳴して行動をともにしていた彼は、1974年の三菱重工爆破事件で多數(shù)の犠牲者を出したことにより、深い葛藤にさいなまれる。警察當(dāng)局の捜査が進(jìn)んで組織が壊滅狀態(tài)になる中、指名手配された桐島は偽名を使って逃亡。やがて工務(wù)店での住み込みの職と靜かな生活を手にした桐島は、ライブハウスで歌手キーナと知り合う。