1811年，少女玛丽·安宁终日搜寻化石。父亲骤然失踪，唯余神秘绘卷与困顿的家。她将发现的远不止化石——更遇友谊与冒险，见证古生物学初萌的微光。

一鬼建设的社长一鬼太治平（佐分利信 饰）此生全部精力都扑在工作上，自从妻子去世后，他独自抚养两个女儿长大。而今女儿双双出家，一鬼也步入了回历之年，他终于能放下工作前往欧洲旅行。浪漫之都，风情万种，他在巴黎的街头偶然邂逅了一名美丽的日本女性。原本以为只是萍水相逢，谁知却在随后分公司的派对上再次邂逅这名女子，并得知对方正是麦士兰夫人（岸惠子 饰）。几天后，一鬼感到身体不适，在社员船津的劝说下，他前往医院检查，结果意外得知自己罹患癌症，只剩下一年左右的生命。莫大的虚无和苍凉袭来，让一鬼恸哭哀嚎。当又一次与麦士兰夫人见面时，无论这个美人，还是欧洲街头巷尾的古典建筑，都无法让他体会到更多的美好。 死亡的阴影已经紧紧包裹他的心头……

福安自幼体弱，成年后患上血痨。他的父亲姚老头为他娶了媳妇吴翠娘，翠娘容貌美丽且能干。二娘金花从中挑事，导致婆媳关系十分紧张。新婚的福安纵欲过度，身体愈发糟糕。父亲告诫他不可沉溺女色，称“女人是盐坛子，不是蜜罐子，吃多了会淹死的”，并决定让他们夫妻分房居住。然而福安难耐欲火，执意与翠娘同房。二娘金花认为是翠娘的错，还扇了她几耳光。福安为袒护翠娘被气死，随后姚老头也因气愤离世。实际上，姚老头在世时金花就与和尚法净私通，法净见翠娘美貌，也想将她占为己有。翠娘偶然发现了他们的奸情，还偷听到他们污蔑自己与别的男人私通，害死丈夫、气死公公。悲愤之下，翠娘自杀。到了阴间，翠娘放弃转世投胎的机会，冒着永世不得超生的风险到阳间复仇。法净自知对付不了女鬼翠娘，赶忙向师傅老和尚求助，但这对奸夫淫妇最终还是死在了翠娘手里，翠娘的魂魄也随之化为乌有。

人不堪忍受世间的百般苦难，在通向和平安宁的路墟中挣扎、奋起。最终人们付出了巨大的代价得到和平、安宁。

内德爱他美丽的妻子玛丽，但由于他的性功能障碍无法满足她，无论他怎么努力，都无济于事。有一天他发誓将自己的灵魂卖给魔鬼，以换取他缺乏的男子气概，并提出接受他的提议，魔鬼答应了。内德很快发现自己能够享受他梦寐以求的体验，但不知道魔鬼对内德和他所有的新玩伴有一些可怕的计划......

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.

失意的作家阿伦无目的四处流浪，直至结识了酒馆女招待加布里埃尔，匪徒杜克闯入酒店并抓了客人和招待作为人质。为了能让加布里埃尔离开这里去法国学习，阿伦被杀。

西村寿行の同名小説を、アクション作品に定評のある丸山昇一が脚色し、数多くのテレビドラマを手がけてきた長谷部安春が監督した、角川映画テイストあふれるアクション・サスペンス。しばたはつみによる主題歌もヒットした。 　警視庁捜査一課の仁科草介はマンションの自室で襲われ失神。気がつくと、自分の銃で撃ち殺された男の死体が転がっていた。仁科は新聞記者の蜂島らの協力を得て、大物政治家の中臣晴義と日本ウラニウム鉱社社長の平井剛一が、戦時中に五千キロの金塊を積んだまま墜落した爆撃機を探していることを知る。中臣と平井は金塊をめぐり対立しており、仁科はその争いに巻き込まれ罠にはめられていたのだ。爆撃機の搭乗員たちは、仁科の生家で一夜を過ごしており、金塊の処分についてもそこで話していたというのだが…。