两名性工作者，17 岁的吉诺和年轻的母亲玛丽，受雇拍摄一部色情电影。在万圣节的前一天，他们来到一个偏僻的地方进行拍摄。在拍摄过程中，他们被强迫做一些自己并不同意的行为。两人感到被困和孤立，被逼到尊严的边缘。

Fourteen-year-old Tao witnessed the arrest of his mother, accused of collaborationism. He decides to go to his grandfather in Paris and on the way meets Mary, an eleven-year-old orphan.

Maria is at the birthday-party of her friend’s son where the kids are going crazy. She escapes the party, but she is followed by nine-year old Mickey, who calls her the woman of his life. Without success, she tries to get rid of the boy. She has only recently broken up with her boyfriend and is fed up with love and childish men – until Mickey offers her the most romantic proposal of her entire life.

改编自池泽夏树同名小说，ギラクシ一賞獎励賞受賞作品

Of all the dangers Elizabeth I had to survive - the Spanish Armada, a Catholic continent plotting against her incessantly, restless nobles uneasy at serving a queen who refused to marry - none was so personally intense as her rivalry with another woman - her cousin and fellow queen, Mary, Queen of Scots. This was her longest, most gruelling battle - lasting over two decades, it threatened to tear apart both Elizabeth and her kingdom. In the end, it would force her to make the hardest decision of her life. 　　The two queens stared across the ultimate divides of their time: Protestant and Catholic, Tudor and Stuart, English and Scottish. Their fascination with one another grew into the greatest queenly face-off in our entire history. And yet, in 26 years of mutual obsession, they never actually met. Their confrontation was carried out through letters - a war of words so heartfelt and revealing that the two queens' passions can still be felt. 　　For the first time on television, this chronicle of love turned to hatred, of trust betrayed by plot and bloodshed, is dramatised purely from the original words of the two queens and their courtiers. Expert historians examine, interpret and argue over the monarchs' motives for their 'duel to the death' - for in the end only one queen could survive such emotional combat.

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.