由于一场家庭文化冲突，一个年轻女孩被迫违背自己的意愿嫁人。尽管她的家人有他们的看法，但命运的眷顾让她有了第二次机会，去重拾青春，寻觅真爱。

玛丽卡是非洲大草原上的一只母花豹，作为顶级猎手，她捕猎基本上每次都能成功。然而，她面临一个难题，即无法保护自己的战利品。除了鬣狗会来抢夺，雄豹也是威胁，即便把战利品放到树上也没用。颇具讽刺意味的是，这种不断被偷猎的情况，反而促使她成为了一名优秀的猎手。为了保护自己的战利品，她必须勇敢地面对雄豹。能否顶住雄豹的恐吓，对她来说是生死攸关的问题，关乎着她能否在这片草原上生存下去。

It centers on a journalist who travels to Rome to interview a famous musician, only for the trip to end in betrayal and murder.

Abraham, the planter comes from Jaffna to his ancestral home in central Kerala unaware of the unpleasant things waiting for him. On the night of his arrival, he dies under mysterious circumstances and the cloud of suspicion falls on everyone.

Elektra (Nayantara) lives in a world torn between passion and fixation. She is so possessive of her father Abraham (Prakash Raj), that when he returns home from his plantation in Jaffna, she plans to poison his mind about his wife Diana (Manisha Koirala) having an affair with Isaac (also played by Prakash Raj). When Abraham arrives, he is at first unaware of the impending drama. However, by the dawn of the following day, he is dead. Consumed with rage and grief, Elektra blames her mother for the death, and seeks vengeance. When Elektra's brother, Edwin (Suraj Skanda) – who is plagued by an Oedipus complex – arrives for the funeral, Elektra tells him about their mother's alleged affair. In the midst of the scandal, Elektra turns to police officer Peter (Biju Menon), who is in love with her, as a source of calm and sanity. But Elektra and Edwin end up destroying each other, trapped by forbidden desires. Diana is brutally victimised.

从创世之初开始，正邪两种力量便一直在斗争，他们一方修炼能够起死回生并预见未来的法术，另一方则结成组织不停寻找终极武器的下落。现在，一个女人的出现将影响两方的势力平衡。 女杀手艾丽卡的父母数年前被人杀死，而她自己也不幸身亡。幸有掌握复活能力的导师将她救活，又传授给艾丽卡诸多本领。在执行一次任务期间，艾丽卡和相邻的马克父女结识，这对父女间的相处让艾丽卡回想起自己曾经拥有的爱。任务目标揭晓，雇主的目标居然是马克父女。艾丽卡为了保护父女二人，不惜与杀手集团作战。

When the single middle-aged Luis travels from Barcelona to bury the remains of his mother in the vault of his family in Segovia, he is lodged by his aunt Pilar in her old house where he spent his summer of 1936 with her. He meets his cousin Angelica, who was his first love, living on the first floor with her husband and daughter, and he recalls his childhood in times of the Spanish Civil War entwined with the present.

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.