归乡的林婉发现恶霸王大欲强占自家祖坟地，不仅在坟旁修猪圈，更出言不逊。林婉平静警告，不料王大养的猪竟离奇集体下跪，引发村民恐慌。王大不信邪，扬言搬来大喇叭24小时播放音乐。然而，当晚猪圈便传来非人嚎叫。林婉再次点破，猪已“闻到骨头味”，祖宗之魂或将被吵醒。王大不顾一切接上喇叭，一场人与冥、生与死的较量，才刚刚开始。

2035年，林苍重生在X-12病毒爆发前31天。前世他遭亲戚背叛、公司构陷，惨死于丧尸之口。今生他先从公司敲得补偿金，联合挚友赵磊，筹备物资加固溶洞，同时发现病毒爆发背后或藏惊天阴谋，一场绝地求生的末日博弈就此开启。

张大爷平坟之时挖出一窝蛇蛋，私自将其带回家，意外救下一名气质诡异的白衣姑娘。可自此家中怪事接连发生，儿子莫名摔断腿脚，灾祸接踵而至。蛇蛋缓缓孵化，背后玄机慢慢显露。白衣姑娘的真实身份彻底曝光，还掳走大壮。祖坟深坑之中，藏着灵蛇以命换命的离奇诡局。一位过路和尚途经此地，一语道破埋藏许久的宿命因果，整件事情的真相终于浮出水面。

在郊外的小房子里，住着猪先生一家。小猪们在草地上做游戏，只有汉姆霍克面带忧郁。原来他天生好吃，永远处于饥饿状态，为了填饱肚子，他甚至把妈妈刚烤好的馅饼投过来塞进嘴里，结果自然遭到妈妈的训斥。吃饭时间到了，汉姆霍克风一样地最先冲入餐厅，他刚伸出手就遭到妈妈的责打。祈祷期间，他又偷偷将兄弟姐妹的面条系在一起，结果所有的面条都跑到他的嘴里。夜深人静，汉姆霍克躺在床上辗转反侧。突然，他发现自己置身一个奇怪的房子内。在恐怖的科学家的带领下，汉姆霍克走入房间，却被科学家强迫吃掉了很多东西…… 本片根据Ellis Parker Butler.的原著改编。

The presence of a couple of guinea pigs at the Westcote railroad station create countless offspring as well as a load of paperwork for administrative bureaucrats including by-the-book agent Flannery when their owner won't pay the rate for standard pigs on them. Adapted from Ellis Parker Butler's story, this is one of the oddest shorts on the set, but it is certainly entertaining with its fast-paced, rhyming Irish-jig-like music.

一个在沙漠上带着黑色头巾的男人迷路了，在强烈的阳光下，他的身体开始慢慢变得虚弱，并产生了幻觉，在死亡之门来临时，他看到了一个女人朝他走来，后来意识越来越模糊，他忘记了自己是谁，为什么来到这里。究竟在他身上发生了什么事情？

一个多年被禁止拍片的导演哈桑面对着复杂的家庭和情感问题，当镇上的电影制作人被一个接一个地谋杀时，逃过一劫的哈桑却被视为嫌疑人，他只能凭自己的行动为自己赢回声誉。

A young man journeys through a desert, where he is kidnapped by a sadistic stranger clad in a pig mask. The stranger proceeds to brutally torture the young man, who then finds himself escaping into his imagination, with fantasy and reality intersecting. Written by Phasmatrope.

A group of animals hook up a power grid to the socket-shaped snout of a large, sleeping pig. The animals use the pig’s energy for simple things at first, but they are soon dependent on a city where everything is automated...

"Psy" translates from Polish into dogs. The English title is "Pigs." Both titles are intended as slang references to the police. In 1990 a group of former Communist Security Service officers after a verification get hired by the police. Franciszek "Franz" Maruer is one of them. His friend, Olgier "Olo" Zwirski, is not. Franz leads a new group of cops from crime unit on an operation against an international crime group. The operation goes wrong when they're attacked by thugs, who - as Franz believes - are also old Security Service officers, like them. He doesn't know which side is Olo on yet. What is 'Dogs' about? 'About a dog's world, about the fact that freedom also engenders filth and stupidity while destroying ideals. Everything has been debased, sullied in mud, thrown into the cesspool,' wrote a reviewer. Such extreme critical reactions were elicited by the film's subject matter and its portrayal of the world as fundamentally castrated of positives and saturated with cynicism, moral dirt and cruelty. A world that is simultaneously hardly abstract, and in fact present in the here and now (i.e. in Poland in 1989), one that is additionally portrayed in an iconoclastic and provocative manner, derisive of all things sacred, be they related to nation or religion. Behind this façade of scoffing and anti-martyrological blasphemies, there was something more - a morality tale, a painful diagnosis of contemporary Poland. Was this 'cinema of immoral anxiety'? Opinions were divided. Only viewers succeeded in 'expressing themselves' clearly, demonstrating their fascination by lining up in front of the box office and rendering 'Dogs' a commercial hit. Polish cinema went through a relatively quick and much needed transition in the late 80s that mirrored political changes. As Poland became a democratic country the state let go of its monopoly of the film industry and censorship was lifted. This not only gave freedom to Polish movie making but also allowed foreign films to be screened. These new film policies were well received among new audiences who were too young to remember the solidarity movements and became tired of watching movies about it. In a new market economy for film audiences started to choose what they wanted to watch. This meant classic Polish films struggled to capture audiences as foreign Hollywood-like films gained popularity. As some feared the end of Polish cinema others saw it as a chance to catch up with the rest of Europe and the world. It is through the Americanization of a very Polish story that Pigs expresses controversial and previously restricted topics. Issues of political instability with a lack of a real national hero are raised. Inequalities and corruption in the state ranging from a social to personal level are also looked at. Finally large scale criminal activity is recognized as a reality, presented through taboo subtopics of violence, vulgar language and drugs. Polish Film Festival 1992 Won Best Actor Boguslaw Linda 1992 Won Best Director Wladyslaw Pasikowski 1992 Won Best Editing Zbigniew Nicinski Wanda Zeman 1992 Won Best Score Michal Lorenc 1992 Won Best Supporting Actress Agnieszka Jaskólka