童貞の拓哉はいよいよ京子と一線を越えようとしていた。だが、图片京子が拓哉のイチモツをズボンから引き出し「可愛い」と言ったことで拓哉はショックを受け、图片それ以上の行為を止めてしまう。京子は怒って帰ってしまった。そんな時、拓哉に大学の先輩・西川からドライブの誘いが来る。道中、山道でリュックを背負い、ミニスカの女が視界に入り、最近ご無沙汰の西川はさっそく彼女をナンパする事にした。その女・真里は車に同乗することにした。ところが、西川の中古車は途中で動かなくなってしまう。拓哉は車から降りて宿泊できる場所を探しに行く。拓哉を待っている間、西川は真里の隣に座り誘いかけるが、彼女は頑なに拒否する。嫌がる真里の胸を露わにさせると、彼女はビンタをくらわして車を飛び出した。林の中から戻ってきた拓哉は泣きながら駆けてくる真里と鉢合わせする。拓哉と話をする中で彼が童貞と知ると
天野浩成
回复 :姐姐秀华在事业上失败，而妹妹宝华则成功，她们各自成家却生活在一起。秀华的丈夫基贤在性行为时觉得秀华性格过于冷淡，因此向妹夫成九倾诉了自己的困扰。然而，成九却相反地表示妹妹宝华的性格太热情了，建议彼此交换伴侣。
回复 :继第一部电影的事件之后，萨扬来到了阿塔卡马沙漠，追寻着一个与她的任务有关的线索。她的任务是对抗Actaeon，这个跨国组织不仅使她的家庭悲惨凄凉，还破坏了智利各地的生态系统。
回复 :Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.