艾琳（星井七濑 配音）的母亲是一名兽医，两人过着相依为命的生活。一场意外的发生令母亲和艾琳即将遭受残酷的死刑折磨，在生死存亡的紧要关头，母亲用禁断的咒术久了艾琳，自己则不幸死在了猛兽的口中。 　　就这样，艾琳失去了自己在这世界上的唯一一个亲人，善良的养蜂老人约翰收留了无处可去的她，将她抚养成人。一次偶然中，艾琳邂逅了在天空中自由翱翔的王兽，王兽是一种高傲的物种，绝不受人类的亲近和控制，这种高洁的性格深深的吸引了艾琳，引导着艾琳走上了和母亲一样的道路。艾琳来到了位于卡扎姆的王兽保护场，开始了学习，没想到这一选择彻底改变了她的命运。

故事的女主角是与身为兽医的母亲相依为命的少女艾琳。有一天，被母亲照料的用于战斗的五头斗蛇一夜之间全部死亡，这被认为是照顾者的责任，导致她母亲遭到了活活地被斗蛇吞食的残暴刑法。艾琳虽然想救母亲，但幼小的她却差点和母亲一起成为了斗蛇的食物。幸好母亲吹奏的指笛控制的一头斗蛇将艾琳救了出去。成为了孤儿的艾琳得到了养蜂的老人琼的帮助，开始了独立的生活。在这期间，她对于生物及自身所生存的这个世界有了更深刻明析的看法。 在山中碰到了翱翔在天空中的王兽。被决不亲近人，也不会被人类驯养的王兽之姿迷住了的艾琳，决心成为王兽的医生。于是她来到了卡扎姆王兽保护场开始学习。想要了解、帮助王兽、并与它们一起生活的艾琳成长得飞快。但她发现人类用来驱使王兽与斗蛇的无声兽笛会使动物们有短时间的僵硬。她开始对兽笛是否会对它们的身体产生负担一事产生了疑问。她开始试着去与王兽进行交流，用自己优秀的记忆力，将它们的发音正确记下来，并完美地再现。 在越来越了解王兽的生态之谜时，虽然不是出于艾琳的本意，却自然地成为了真王与大公之外的又一新生力量。不久之后，艾琳就站在了能够左右王国命运的立场上……

近来，在《洛杉矶时报》上班的记者斯蒂夫·洛佩兹(小罗伯特·唐尼饰)正遭遇生活与感情上的双重麻烦，爱情和婚姻似乎已经让这个堂堂的七尺男儿感受到信心…

史蒂夫·洛佩兹（小罗伯特·唐尼 Robert Downey Jr. 饰）是一名洛杉矶时报的记者，最近因为一次骑行意外而住进了医院。在病床上，他经常听见附近传来优美的小提琴声，从而结识了天才小提琴手纳萨尼尔·埃尔斯（杰米·福克斯 Jamie Foxx 饰），渐渐地他发现， 埃 尔斯原来曾进修于声名显赫的茱莉亚音乐学院，然而却因精神分裂症而辍学，如今只能流落街头卖艺为生。洛佩兹决意将埃尔斯的故事写成专栏，为此他开始留意埃尔斯的一举一动，在相互了解的过程中，两人渐渐建立了深厚友谊，洛佩兹为了帮助埃尔斯完成音乐梦想甚至抛家弃业，然而埃尔斯的精神疾病却始终是两人之间的羁绊…… 　　本片根据史蒂夫·洛佩兹发表在报纸上的文章进行改编。

Dr. Jason Holden, early 50s, is in danger of losing his family, because of a tragic automobile accident. He becomes a piano accompanist at a local ballet studio and falls in love with Brandon Wykowski, 27, a troubled dancer.

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

菊村到の同名小説を鈴木清順がセミ・ドキュメンタリー・タッチで描いた異色のアクション映画。勤勉実直な初老のサラリーマンが麻薬組織に買収され、麻薬密輸に関与してしまう。やがて、だまされていたことに気づいた彼は単身アジトに乗り込んでボスを射殺、アジトに火をつけ自らも炎の中に身を投じる。

Waldemar, the renowned adventurer, joins an expedition to find the Yeti in the Himalayas. While hiking the mountains, he's captured by two cannibalistic demon nymphets guarding a remote Buddhist temple and becomes their sex-slave. They transform him into a werewolf setting him loose to roam the mountain where he encounters a sadistic bandit.

Waldemar, the renowned adventurer, joins an expedition to find the Yeti in the Himalayas. While hiking the mountains, he's captured by two cannibalistic demon nymphets guarding a remote Buddhist temple and becomes their sex-slave. They transform him into a werewolf setting him loose to roam the mountain where he encounters a sadistic bandit.