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时间是江户时代。日本桥屈指可数的大店长崎屋的少东家“一太郎”，自出生时就体弱多病，无法随意外出。而白泽和犬神等妖怪们一直陪伴在一太郎身边保护着他。某天晚上，偷偷外出的一太郎目击到一起凶杀。自那天起，江户就不断地发生各种诡异的杀人案件……在妖怪们的帮助下，一太郎开始搜查凶手。。Herbert Vesely was one of the promises for a new German cinema already in the 50's, but after the 60's his star was already dimmed. He made a small number of films in the 70's and 80's, all non too good. This biography of Egon Schiele, one of the most important Austrian artists, is an example of the pretensions and emptiness of a Vesely-film of later date. The life of Schiele is presented here as a puzzle| well, Vesely thinks that Schiele's life was a puzzle: the core of the story is centered around the famous 1912 pornography trial and using this as base the film shows fragments of past and future. The problem is that it never becomes a unity and that the order of scenes and sequences seems to be at random: a cut-and-paste job that could have had any other result. Indeed, after seeing it twice I am almost convinced of it that a unsatisfactory linear thought-out film was changed into the puzzle in the editing room. Egon Schiele was an enigmatic man, but not a total puzzle, and this film does not bring him any closer. The films also fails in conveying the eroticism and meaning of the Schiele's paintings: the camera watches and glides over the models without any understanding of Schiele's intentions, we only see beautiful naked bodies. If interested in Schiele, you better buy a book with his works in stead.。印度人民将猴子当成神灵，终成祸患。青年安贾尼在姐夫的帮助下，找到了一份公务员的工作，工作内容是模仿“咿嘞呜”的叫声来吓跑猴子。这份工作打击了他的尊严和勇气，令他非常不满， 却因自身能力欠缺而无可奈何。他决定装扮成叶猴──猴子的天敌──来对付猴子，令猴子们纷纷逃窜。可是经历连串事件之后， 他却发现自己像猴子一样被驱逐。这是一部讽刺意味十足的影片， 将猴子的威胁、承包商的腐败，与安贾尼的工作经历融为一体， 折射出对当局者及其所颁布的政策的讽刺。。