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 She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks...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.

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......

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......

Here For Life is an uncommon story on common qiwan.cc ground. Wayward, hybrid, tender.

A mother and her daughter -- who are both victims of incest-rape perpetrated by the same man now languishing in jail -- are approached by a couple of filmmakers with an offer to produce a movie based on the two women's true story. They hesitate on the idea at first but agree eventually for the sum of money they will be paid in exchange for selling the rights to the material. When the finished film is finally shown in theaters, they proceed to the city all the way from their hometown to catch the screening. They are elated at the prospect of seeing the larger-than-life versions of themselves. But as the motion picture gradually unfolds before their very eyes, they instead go through another harrowing experience of a lifetime. 　　Another Version： 　　A movie production company wants to make a film based on a newspaper report of a man convicted of raping his granddaughter. The producer and director interview the girl and her mother, assuring them that the film will be tastefully done. But when the women turn up for the screening, they are dismayed to find their story turned into a sexploitation flick called "Lust for Flesh." They leave the cinema halfway, feeling they have been violated all over again.

影片主要讲述一架客机坠落在太平洋的孤岛上，48名乘客侥幸生还。面对这种荒芜人烟的小岛，他们如何才能生存下去呢？生还者形形色色，国籍、人种、文化背景、个性各异，有父亲，有儿子，有朋友，也有敌人。他们既要克服恶劣的天气，在荒蛮的热带丛林中寻找食物、水源，还有一只在夜晚发出令所有人胆战叫声的神秘生物；更困难的是他们必须战胜个人私欲，排除隔阂与分，同舟共济，求得生存。

《迷失》作为一部心理惊悚片，在剧情上做了一个更加戏剧性的转变，剧中的美国心理学家（埃桑特）却成了一位被迫返回巴塞罗那了结宿怨的畅销作家，Meyer扮演了一位去世病人的妹妹。

老北京城的胡同，正值炎炎夏季，青年小唐（蔡鹭 饰）独坐某家小店内。他看似专注电脑上的信息，眼神儿却飘向了旁边桌子的美丽女孩（唐笑笑 饰）。小唐有心跟姑娘搭讪，又找不到理由。当他从厕所出来时，发现女孩早已结帐走人。小唐心有不甘，连忙追了出去，而女孩已经坐上出租车绝尘而去。正当他满怀怅然之际，他的手被另一只手握住。那是一位老太太（毕秀茹 饰），也许年岁过大，老人家的记忆已经衰退。美女没有搭上，反被陌生大妈缠住。小唐一天的计划都被打乱，陪着老人在派出所度过了难忘的一上午…… 　　本片为导演宁浩采用EOS单反相机拍摄的广告短片。

老北京城的胡同，正值炎炎夏季，青年小唐（蔡鹭 饰）独坐某家小店内。他看似专注电脑上的信息，眼神儿却飘向了旁边桌子的美丽女孩（唐笑笑 饰）。小唐有心跟姑娘搭讪，又找不到理由。当他从厕所出来时，发现女孩早已结帐走人。小唐心有不甘，连忙追了出去，而女孩已经坐上出租车绝尘而去。正当他满怀怅然之际，他的手被另一只手握住。那是一位老太太（毕秀茹 饰），也许年岁过大，老人家的记忆已经衰退。美女没有搭上，反被陌生大妈缠住。小唐一天的计划都被打乱，陪着老人在派出所度过了难忘的一上午…… 　　本片为导演宁浩采用EOS单反相机拍摄的广告短片。