In Umbracle, an aleatory horror film that paints a critical image of Francoist Spain, Portabella continues his exploration of the language of experimental cinema and develops his aesthetic of combining documentary with reenactment. He worked with Christopher Lee to produce an "ideal and predetermined cliché[d]" image of an actor: "Lee offered to perform my ideas with pleasure. I even managed to get him to do the hardest thing an actor can do: nothing." 　　Low-budget horror-film star Christopher Lee makes a second appearance as the iconic centerpiece of a Portabella film (CUADECUC--VAMPIR was his first), this time as an imposing but ghostly figure wandering the streets of Barcelona. Through film clips that evoke Chaplin and other silent-era comedians, Dadaist poetry, and mysterious melodrama, Portabella makes a bid for unfettered artistic freedom calculated to scramble the brains of Franco-regime censors. 　　Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Bunuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. MoMA first screened a Portabella work—Vampir Cuadecuc (1970)—on January 27 and 28, 1972, in its Cineprobe program. After a thirty-five year absence, the Department of Film is honored to welcome Portabella back to introduce the New York premiere of his recently completed The Silence before Bach (2007). Roundtable discussions will also be held at New York University, September 27–28. All films directed by Portabella. 　　http://www.chicagoreader.com/features/stories/moviereviews/061110/

In Umbracle, an aleatory horror film that paints a critical image of Francoist Spain, Portabella continues his exploration of the language of experimental cinema and develops his aesthetic of combining documentary with reenactment. He worked with Christopher Lee to produce an "ideal and predetermined cliché[d]" image of an actor: "Lee offered to perform my ideas with pleasure. I even managed to get him to do the hardest thing an actor can do: nothing." 　　Low-budget horror-film star Christopher Lee makes a second appearance as the iconic centerpiece of a Portabella film (CUADECUC--VAMPIR was his first), this time as an imposing but ghostly figure wandering the streets of Barcelona. Through film clips that evoke Chaplin and other silent-era comedians, Dadaist poetry, and mysterious melodrama, Portabella makes a bid for unfettered artistic freedom calculated to scramble the brains of Franco-regime censors. 　　Pere Portabella (b. 1929, Barcelona) is a veteran Spanish filmmaker whose narrative features—rich in interludes, plot diversions, atmosphere, and unexpected synchronies between sight and sound—limn the avant-garde and expand the expressive potential of cinema. Portabella, who began his cinematic career as a producer of fiction films implicitly critical of General Francisco Franco, had his passport revoked when Luis Bunuel's Viridiana (1961), which he helped to make, "embarrassed" Spain at the Cannes Film Festival in 1962. When democracy returned to Spain, Portabella served as a senator in the Catalan government. However, throughout his various careers, Portabella continued to make cinema, investigating meaning in the moving image and flexing the notion of genre—particularly for horror films, fantasy films, and thrillers. MoMA first screened a Portabella work—Vampir Cuadecuc (1970)—on January 27 and 28, 1972, in its Cineprobe program. After a thirty-five year absence, the Department of Film is honored to welcome Portabella back to introduce the New York premiere of his recently completed The Silence before Bach (2007). Roundtable discussions will also be held at New York University, September 27–28. All films directed by Portabella. 　　http://www.chicagoreader.com/features/stories/moviereviews/061110/

美雪和香织是一对单纯的姐妹俩，一直和双亲一起生活在一幢林间小屋中。这天深夜，两个孩子做了噩梦，下床离开了房间。当医生的母亲悦子正在看录像，荧屏上是被试者在开颅手术后大脑遭到电击的情景。突然荧屏上发出一起片白光，姐妹俩正巧看到了这片不可思议的光芒。十七年后，17年后，姐妹俩已经长大成人，在医院工作的姐姐美雪（ 中村由利饰）离奇失踪，妹妹香织（ 藤井美菜饰）便展开了对姐姐失踪的调查，一连串幽灵附体等恐怖事件相继爆发。

#HORROR是一部关于六位年轻女性的生活的电影，山姆、吉雷吉、索菲亚、弗朗西斯卡、猫和伊娃由我们年轻的女星合唱团饰演。他们的世界是金钱、成功、轻松和腐朽的世界。这是一部关于网络欺凌的恐怖电影。这部电影是一个整体的洞察，女孩在成长过程中承受的压力，这个世界越来越依赖于社交媒体平台提供的推广和关注，但防止欺凌。以及父母在控制孩子使用互联网和欺凌方面必须发挥的作用，在社会中扮演了如此可怕的角色。这些年轻女子在一座玻璃豪宅里讲述这个故事，里面摆满了价值数百万美元的艺术品，仿佛她们住在一个当代博物馆里，里面收藏着乌尔斯·菲舍尔、罗布·普鲁伊特、丹·科伦、弗朗茨·韦斯特、史蒂文·希勒的作品。

是人是鬼，真真假假，亦幻亦真！年轻的贾君瑞夫妇离奇死于天地庙中，是人祸还是鬼怪作祟，人性的贪婪与欲望一览无余，离奇命案真相究竟为何？

是人是鬼，真真假假，亦幻亦真！年轻的贾君瑞夫妇离奇死于天地庙中，是人祸还是鬼怪作祟，人性的贪婪与欲望一览无余，离奇命案真相究竟为何？

恐怖的高温末日来袭，我妈不顾我的劝阻把家里仅剩的两箱矿泉水全部送给了邻居，很快弟弟妹妹因为缺水引起了高烧，爸爸也气的要打妈妈，这时我的亲人把锅甩给了我，硬是逼我出门找水，我头昏脑胀的走在烈日下，最终倒在了地上.....

未来世界科技高度发达，有的人高高在上，却有更多的人自甘沉沦。破败肮脏的贫民窟，成千上万的破产之人流落于此，他们心中有着无数的抑郁和愤慨，他们没有兴趣为社会做出过多的贡献。也许是为了减少他们对社会的危害，消除不安定因素。政府部门开发了名为VR的虚拟游戏。玩家只需将如戒指般大小的装置夹在鼻孔中央，就可以全身漂浮半空中，进入充满杀戮、枪火的虚拟世界。他们不吃不喝，沉湎于永无止境的战斗中。他们关注排名，关注杀戮的数字。认虚拟为真实，逃避真实对自己的剥削。 　　这一天，一个男人进入了未知的世界，眼前的一切发生奇怪的变化……

一个穷困的大学肄业生为了12万5千美元奖金，开始玩一个离奇古怪的1980年代生存题材电脑游戏。随后她被游戏诅咒，面临危险的选择和扭转现实的挑战，并经历了一系列恐怖事件。此时她终于意识到：自己不是为了钱而玩游戏，而是为了命。