After the death of their mother, two sisters are forced to question and redefine their love for each other.

脸上涂着歌舞伎般的白色妆容， 　　穿着纯白礼服打扮得像贵族小姐般站在横滨街角， 　　她从不说自己的真实年龄, 　　也从不告诉别人自己的名字； 　　她在战后50年来做妓女维持生活， 　　以绝代美女而知名， 　　因高雅的品位而成为横滨一道独特的风景线。 　　她被横滨人称为“横滨的玛莉桑”。 　　1995年的冬天,玛莉小姐在横滨街头的身影突然消失了。 　　对不透露自己的玛莉小姐置之不理的人们， 　　越来越多地谈论起她， 　　她化身成了都市传说里的女主角。 　　但是那些曾经照顾和帮助过 　　玛莉小姐的少数人一直都存在着， 　　身患绝症的法国民歌歌手永登元次郎就是其中一个。 　　在所剩不多的生命里他回忆着玛莉小姐， 　　越来越强的思念让他想再见到玛莉小姐， 　　在她面前唱起他们共同的歌…。 　　本片参展加拿大多伦多国际电影节、 　　温哥华国际电影节、 　　釜山国际电影节等多个国际电影节， 　　在日本国内获得文化厅纪录电影优秀奖、 　　横滨电影节新人导演奖等9个奖项。

恶梦乃是“梦魔”欲闯入现实世界，而在睡梦中侵蚀我们所造成。每晚都为恶梦所苦的高中生‧藤原梦路，他身怀一项不可思议的能力，就是能看见人身上散发的颜色，藉此预测对方今晚的梦境。准确性虽只有三成左右，但唯有恶梦能百分之百预测到，包含自己是否会作恶梦！某天他醒著的时候作了如同每晚梦境般的“白日梦”，在危急当中，一名少女“玛莉”现身解救他。

Shows the strife and development of a girl forced to move into her father's house under Islamic tradition, following her mother's second marriage.

Shows the strife and development of a girl forced to move into her father's house under Islamic tradition, following her mother's second marriage.

1954, the Malabar Coast. British and Anglo-Indian identities blur when an English-woman with a neglectful husband births a sickly baby. Cotton Mary, a hospital aide and moralizing Anglophile who claims her father was a British officer, takes over the infant's care and, without a word to the mother, takes the baby daily to her sister to nurse. Mary moves into the English household, taking over more and more duties as she plays on the mother's fatigue and lack of spousal counsel: in effect, Mary colonizes the English household while she pilfers its stores and tells tall tales to her own family. For how long can Mary sustain her rule before the Englishwoman stands on her own feet?

Katja Flint, Hannelore Elsner and Heiner Lauterbach star in this German film about a woman who climbs the social ladder by sleeping with those she encounters on her way to the top. When she's discovered dead in her apartment in 1957, the police try to piece together the clues to find out who murdered her … but to no avail.

玛莉丝从沉睡中醒来，但这个世界已变得面目全非。人类灭亡了，作为“DOLL”的玛莉丝似乎失去了意义。在寻找整修组的过程中，奇迹发生了……

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......