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……。

为了探望患病的母亲（金成铃 饰），金书妍（朴信惠 饰）返回了家乡。自从父亲死后，金书妍和母亲之间的关系跌落到了冰点，她认为母亲应给对父亲的死负全责。金书妍不小心将手机落在了火车上，无奈之中，她只得暂时用家中的一台固定电话和外界联系。 　　一天，电话响了，在电话另一头的，是一位名叫吴英淑（全钟瑞 饰）的女孩。很快，金书妍就发现，这台电话似乎拥有穿越时间的特使能力，而吴英淑并非和自己生活在同一时代，而是十年前生活在这幢房子里的某个女孩。根据吴英淑的叙述，她被信奉邪教的母亲（李艾 饰）囚禁在家中，过着生不如死的日子，随着时间的推移，两个女孩之间逐渐建立起了友谊。而金书妍亦发现，就在不久之后，十年前的吴英淑将会葬身火海。

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。

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。

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。

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.

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.