From the silent era until today, the nightmares that have haunted our screen have been sculpted and embodied by women, but many of those artists have gone unrecognised – a historical oversight this documentary duly takes a chainsaw to. Is horror a man’s world? You might assume so – but you won’t be thinking that way for long once you investigate the vast contribution women have made to horror movies for well over a century. In 2020, award-winning Australian critic Alexandra Heller-Nicholas released the definitive book on the subject: 1000 Women in Horror, 1895–2018, an encyclopaedic work celebrating the many women – filmmakers, actors, producers and technicians – who have shaped the genre since the moment cinema’s light first flickered. In her complementary documentary, US director Donna Davies interviews a stack of powerhouse women in the horror scene, and assembles a bevy of clips from classic and little-known films that women have left their mark on. From filmmaker and programmer Kier-la Janisse (Woodlands Dark and Days Bewitched: A History of Folk Horror, MIFF 2021) and veteran performer Lin Shaye (A Nightmare on Elm Street; the Insidious franchise) to legendary Melbourne film scholars Cerise Howard and Heller-Nicholas herself, interviewees share their personal relationship with horror, addressing each theme the documentary explores sequentially: pregnancy, dolls, ageing, final girls and menstruation, to name just a few. Offering insights into the gender politics often explored through the genre, it’s a discussion that will continue even after you leave the cinema – while the smorgasbord of films referenced will have you scrambling for a pen and paper to take notes. ”Sit down, little boys; the grown-ups are talking.” – Alexandra Heller-Nicholas

1000YEN HORROR 手冢真短片

2个外星人来到好莱坞，由于他们的星球快要撞向太阳，他们需要人类来繁殖，方法是侦察进行着性行为的男女，然后把女传送到宇航船，那里她们会保持着昏睡状态，直到怀孕 。

在这部纪录片中，惨死路边的女子留下了一个儿子、一名自称是她丈夫的男子和一个像噩梦层层展开的谜团。

在一个叫Spearfish的社区里，一位无聊的年轻女性开始收到被残忍杀害的年轻女性的照片。它们是真的还是上演的？凶手要么是连环杀手，要么是有病态幽默感的变态。

女兒面對父母的爭吵感到無能為力，佛像的倒塌也象徵著女兒的內心以及家庭的崩塌。 取材自導演個人經驗，將過去在家庭關係中受到的傷害轉化為動畫呈現，使用2D電繪製作出鉛筆炭色及紋理，以細膩的筆觸刻劃過往的內心傷痕。

女性恐怖症の写真レタッチャー械（50）は、ある日、体に傷がある女キョウコと出会う。械はキョウコに頼まれ、画像処理によって傷のない美しい姿を生み出す。その姿に魅了されるキョウコであったが、心の奥底で、自分の存在が揺らぎ始める。理想の自分と現実の自分、二つの自分の溝に落ちたキョウコは、精神的混乱に陥ってゆく。やがて、完全に自分を喪失するキョウコ。もはや、自分だけがキョウコを救うことができると感じた械は、死を覚悟して、女を愛する決意をする。 2015年『地球は青かった』で国際平和映像祭グランプリ受賞、2017年発表の『声』が第21回小津安二郎記念蓼科高原映画祭短編映画コンクールにて準グランプリを受賞するなど、短編作品で数々の賞を受賞してきた串田壮史。初の長編映画監督作品となる本作では、次第に愛に目覚めてゆく二人の出会いの奇跡を描き出す。

A bored young woman in a sleepy community called Spearfish starts receiving photographs of brutally murdered young women. Are they real or staged? The culprit is either a serial killer or some creep with a sick sense of humour(部分内容由HD一条街www.hd1tj.org整理)

A documentary about the era of classic monster movies that were made at Universal Studios during the 1930s and 1940s.

这部电影汇集了5个惊悚骇人的恐怖故事，其素材源自日本知名的都市传说，分别是《算命先生》《鸽子房间》《神秘乘客》《小偷遇见老太太》以及《人偶村》。