偏远山村河湾的 “死人坑” 流传水猴子传说，渔民老李夜遇 “孩子被拖入水中”，老张之子 “失踪” 更让村民惶惶。此后，孩童啼哭声、水缸渗血、夜钓见黑影等怪事频发，癌症晚期的老任却日日守坑钓鱼，称要 “与大鱼比输赢”。老李不信鬼神，暗中调查，发现是老张父子为禁渔期偷捕保护鱼类，用鱼皮潜水服、录音机等装神弄鬼。最终，老李当众揭穿真相，老张父子伏法。而老任钓到 “大鱼” 后，次日被发现含笑倒在鱼竿旁，所谓 “水怪” 不过是人心贪婪的幻影。

邪恶的雷米博士在拜万迪精神病医院的地下私自创建了一个人体实验室，虽被塞文教授发现阻止了他的阴谋，但事情并没有结束。雷米的冤魂仍在附近徘徊，伺机反扑人间……20年后，一名神秘女孩被送往这个精神病院，同时她的到来也引起了雷米亡灵的注意。在女孩经过一系列恐怖怪异的事件后才知道，她是打开医院地下“地狱之门”的关键“钥匙”，雷米企图用她来达成邪恶的愿望。终于，大批恐怖的地狱活死人涌向人间，展开了一场血腥的大屠杀……

邪恶的雷米博士在拜万迪精神病医院的地下私自创建了一个人体实验室，虽被塞文教授发现阻止了他的阴谋，但事情并没有结束。雷米的冤魂仍在附近徘徊，伺机反扑人间……20年后，一名神秘女孩被送往这个精神病院，同时她的到来也引起了雷米亡灵的注意。在女孩经过一系列恐怖怪异的事件后才知道，她是打开医院地下“地狱之门”的关键“钥匙”，雷米企图用她来达成邪恶的愿望。终于，大批恐怖的地狱活死人涌向人间，展开了一场血腥的大屠杀……

在苏阳的世界里，他接受不了妻子王晓静每天俗不可耐的教诲，于是选择逃离作为抗争。觅“地下”的天坑为余生的世外桃源，在天坑里他遇到诸多令人费解的事…

結束バンドのメンバー4人がバイトルで新しいバイト探し!? でも希望の条件や悩みはバラバラ... 果たして、4人とも理想のバイトを見つけることができるのか？ 結束バンドのバイト探しが始まる。

結束バンドのメンバー4人がバイトルで新しいバイト探し!? でも希望の条件や悩みはバラバラ... 果たして、4人とも理想のバイトを見つけることができるのか？ 結束バンドのバイト探しが始まる。

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.