在一个晴朗明媚的夏日，某高中女子空手道部的成员美奈子（紗綾 饰）、真由子（菊地あやか 饰）、沙织（上杉奈央 饰）等人在顾问教师的带领下，前往山谷内某个旅馆合宿。她们即将迎来校际间的大赛，因此在接下来的一周留在山上进行全封闭的集训。在这个几乎与世隔绝、没有信号的所在，女孩们的欢声笑语响彻山谷每一个角落。但是最初的快乐并未持续多久，沙织在奔跑训练中掉队、迷路，随后遭遇极为恐怖的景象，精神几近崩溃。老师驱车将其送回家中，并叮嘱女孩们继续训练。 可是接下来的日子里，女孩身边恐怖事件接连发生，关于怨灵梅莉仿佛变成了真的……

「新説・メリーさん」 メリーさんからの電話を受け取った玲奈。「あたしメリーさん。今、あなたの後ろにいるの」。その電話は友人のいたずらだと分かるが、さらに電話がかかってきて……。 「正面霊」 ある朝起きると、正面に霊が現れる。最初は見間違いだと思っていたが、その正面霊が少しずつ姿を表すと……。 「殺人レッスン」 演出に疑問を頂いた役者が、実際見たことがあることしか出来ないと、演出家に訴える。演出家は自ら実演して、あることを実践するが……。 「白鷺みき子、血を吸う調べ」 天才監督の最新作。天才であるがゆえに、監督は役者たちを追い込んで行く。この男の本当の狂気とは？ 「死人時計」 「死人時計」というWebサイトのモデル募集記事を発見し、興味を持つ女子大生達。ある日、彼女達の前にモデルの美冬が現れ……。

一通电话让来自过去和现在的两个女人产生了奇妙的联系，并引发了一场改变未来的危险游戏...她们将渐渐难以自拔。

Hamid’s (8) father has gone missing. His mother Ishrat has turned indifferent towards Hamid and the entire world after the incident. Neglected and lonely, with a heart searching for answers, Hamid star gazes in the hope of meeting his father. The number 786 always bewildered Hamid. One day a teacher tells Hamid that this is God’s number. Using his father’s old mobile phone, after trying different combinations, he finally manages to connect to a person, who he is convinced is God. On the other side is Abhay, a hard-knuckled CRPF Jawaan. Hamid’s phone call, though surprising at first, intrigues Abhay who engages in humouring Hamid. These two, unknowingly and unintentionally, change each other’s world for the better.

影片讲述少女小春从广岛回到故乡岩手，去往风的电话所在地的一段旅程，是一个关于内心治愈，以及我们忘却的珍贵记忆的故事。

东日本大地震中，岩手县大槌町受灾严重，全城被海啸摧毁，1200余人死亡或失踪。在俯瞰大海的山丘庭院里，有一座名为“风的电话”的奇特电话亭。亭内有一台未接线的黑色电话机和一本笔记簿。那些渴望与震灾中离世或下落不明的家人、朋友再度交流的人们，会来到这里，拿起听筒“通话”，笔记簿里满是来访者的心声。 如今，东日本大地震已过去五年，灾区正逐步复兴，但仍有许多人深陷失去亲人的痛苦中难以解脱。对于那些难以倾诉痛苦的人而言，“风的电话”成了重要的精神寄托。 本片对“风的电话”亭展开长期跟踪采访，探寻这五年里来访者如何度过每一天，在震灾五周年之际，他们想对听筒另一端的亲人说些什么，又打算怎样开启新的生活。通过海边这座小小的电话亭，聚焦灾区民众五年间的失去与新生。

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.

90后导演麦肯齐·谢泼德（Mackenzie Sheppard）注意到如今越来越多的男性只顾玩手机，忽视了女友的感受，于是他拍摄了这部实验短片《电话里的男人》。影片中，男主角是个手机成瘾者，某天醒来，他竟发现自己被困在了女友的手机里。

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