Troubled and sexually repressed Rosemary has serious issues with her estranged father abandoning her as a little girl at an orphanage. Rosemary neglects the carnal needs of her boyfriend John, so John turns to prostitute Unis to satisfy his lascivious desires. In the wake of her father's sudden passing, Rosemary sinks into a deep depression and finds herself caught up in a surreal erotic nightmare world of sex and death.

Troubled and sexually repressed Rosemary has serious issues with her estranged father abandoning her as a little girl at an orphanage. Rosemary neglects the carnal needs of her boyfriend John, so John turns to prostitute Unis to satisfy his lascivious desires. In the wake of her father's sudden passing, Rosemary sinks into a deep depression and finds herself caught up in a surreal erotic nightmare world of sex and death.

Originally Das Madchen Rosemarie, this German "musical tragedy" has a lot in common with the Bertold Brecht/Kurt Weill theatrical pieces The Threepenny Opera and The Rise and Fall of the City of Mahoganny; in fact, the music heard throughout was taken from Weill's backlog. Austrian beauty contest winner Nadja Tiller plays the prostitute heroine, based on a real-life call girl whose predilection for blackmailing her high-profile customers ended with her mysterious death in 1957. The film was advertised as a "satire," with the satirical level exemplified by a chorus of capitalist businessmen rhythmically opening and closing their briefcases. The "frivolity" of Rosemary is punctuated by moments of chilling horror, including the film's bleak denouement.

凯（约翰·卡萨维兹 饰）有着一个外表单薄脆弱的妻子罗斯玛丽（米亚·法罗 饰），自从他们搬到新公寓后，凯就和邻居一对老夫妇相谈甚欢。而罗斯玛丽却并不特别喜欢这对邻居，令她感到不适的，还有接下来的一连串怪事。罗斯玛丽看 到了自杀的女人，在日渐诡异的生活气氛下，她还做着毛骨悚然的梦。梦中，有一个长毛怪物侵犯自己，罗斯玛丽从噩梦中醒来不久，竟得知自己已有身孕的消息。

1945年6月28日，某大学毕业舞会，男青年罗伊（Timothy Wahrer 饰）和他的女友弗兰西丝•罗斯玛丽•凯瑟姆（Joy Glaccum 饰）被人残忍杀害，凶手始终下落不明。弗兰西丝身为校领导的父亲（Lawrence Tierney 饰）伤心过度，从此禁止举行任何形式的庆祝舞会。 　　时间转瞬即逝，转眼来到1980年。35年前的惨案除了当事人外早已为其他人淡忘，以帕姆（Vicky Dawson 饰）为首的一群年轻人难耐寂寞，他们决定将挺办数十年的毕业舞会带回校园。经过一番努力，年轻人们最终如愿以偿，而当他们陶醉在轻歌曼舞中之时，似乎当年那个神秘的杀手也回到了青年们的中间……

The series Portobello, which focuses on the true story of Enzo Tortora, a clamorous miscarriage of justice which rocked Italy in the 1980s. The 6-episode series about the famous presenter of TV show Portobello – on air for seven editions from 1977 – who was accused by several cooperating witnesses of being part of a Camorra-linked association dedicated to drugs trafficking. Tortora was thrown into prison and tried for years before being definitively cleared of all charges. 　　“Tortora suffered a great injustice: he was arrested, tried and sentenced, and only totally cleared after a long legal odyssey. He was a fighter, but the fight made him ill and ultimately took his life. I won’t turn him into a saint, I’ll dig deep down into this man’s story in a series, because a film couldn’t contain it”, Marco Bellocchio explained.

剧集《波托贝洛》聚焦恩佐·托尔托拉（Enzo Tortora）的真实故事，这是一起轰动意大利的错案，发生在20世纪80年代。这部6集的剧集围绕著名电视节目《波托贝洛》（Portobello）的主持人展开，该节目从1977年开始播出了七季。这位主持人被多名污点证人指控，称他是一个与卡莫拉（Camorra）有关联、从事毒品交易的组织的成员。托……

The series Portobello, which focuses on the true story of Enzo Tortora, a clamorous miscarriage of justice which rocked Italy in the 1980s. The 6-episode series about the famous presenter of TV show Portobello – on air for seven editions from 1977 – who was accused by several cooperating witnesses of being part of a Camorra-linked association dedicated to drugs trafficking. Tortora was thrown into prison and tried for years before being definitively cleared of all charges. 　　“Tortora suffered a great injustice: he was arrested, tried and sentenced, and only totally cleared after a long legal odyssey. He was a fighter, but the fight made him ill and ultimately took his life. I won’t turn him into a saint, I’ll dig deep down into this man’s story in a series, because a film couldn’t contain it”, Marco Bellocchio explained.

墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。 　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest. 　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time. 　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one. 　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.