朝日ソノラマ刊の同名ホラー雑誌に基づき映像化した、人気ホラー・シリーズ第5巻。同雑誌に寄せられた本物の心霊写真のみを集めた、恐怖映像満載の1本。 　　-- 内容（「VIDEO INSIDER JAPAN」データベースより）

世の中に存在する心霊写真の中から背筋が凍る戦慄の恐怖写真をセレクトし、その裏に潜む呪われた真実に迫る心霊ドキュメンタリー第7弾。異常な顔面、足元の地縛霊、赤い手、黄金色の霊道、生霊の足など、この世のものとは思えない超常現象を満載。

让·考克多1948年作品。这部心理悲喜剧是一部室内剧，只有两个场景，没有外景，镜头非常静态，用大量特写来反映人物的内心世界以及家庭中各种复杂关系的微妙之处影片描写儿子的恋母情结以及父子之间的相互嫉妒。很多人推举此片为考克多最优秀的作品。。最值得称道的是空间封闭压抑感的营造以及女主角炉火纯青的表演。1953年英国重拍成《亲密关系》（Intimate Relations）。

让·考克多1948年作品。这部心理悲喜剧是一部室内剧，只有两个场景，没有外景，镜头非常静态，用大量特写来反映人物的内心世界以及家庭中各种复杂关系的微妙之处影片描写儿子的恋母情结以及父子之间的相互嫉妒。很多人推举此片为考克多最优秀的作品。。最值得称道的是空间封闭压抑感的营造以及女主角炉火纯青的表演。1953年英国重拍成《亲密关系》（Intimate Relations）。

这是灵异纪录片系列的第八集，从世界上最闹鬼的照片中挑选出令人毛骨悚然的恐怖照片，探讨其背后的鬼魅真相。其中包括一些因故无法播出的照片，如围着孩子的土灵之手、游乐园土灵、骷髅土灵等。

又是一个晴朗的日子，小老鼠杰瑞打开冰箱门，小心翼翼地搬出里面的奶酪，同时还得提防老对手汤姆的袭击。谁知狡猾的汤姆正趴在冰箱的上面，带着嘲笑的神情注视着杰瑞的一举一动。接下来，汤姆对杰瑞发动了一连串猛烈的攻势，毫无防备的小老鼠遭到最为惨烈的戏弄，还从上到下沾满了白色的药水。另一边，正躺在沙发上看杂志的汤姆听到听到一则紧急消息：一只小白鼠从实验室逃了出来，此前他吃了足以炸毁整座城市的炸弹，因此千万不能振动小白鼠。听到新闻的汤姆吓破了胆，而杰瑞决定将计就计，好好戏耍可恶的老猫。 　　面对随时可能爆炸的小白鼠，汤姆的磨难开始了……

Estranged brothers Jim and Dave must travel to Branson together when their father dies and leaves them the lake home. A series of hilarious mishaps and costly misadventures follow as they attempt to restore the house and rebuild their relationship.

Frido is a fun-loving kid and, just like most kids his age, a little lazy in school. One day during a town fair he encounters an enchanted mirror. With the mirror’s magic, he is able to create a ‘doppelgänger’, or double, of himself – who is just perfect at everything that he is not. With the help of his double, who proves to be very clever at school, Frido starts to give up more and more responsibility, not only in class but also at home. At first it is a lot of fun. He tells his secret to his best friend Emil and soon all of his classmates find out and make copies of themselves, too. Slowly but surely, the kids realise that they miss their old lives. No one goes to school anymore and the freaky doubles start to take over. The kids decide to take action by setting a trap that will return the doubles into the mirror just in time.

Back in Cambodia after 7 years, she is still holding a camera. Following the gap between what she experienced this time, she was dragged into somewhat reality, sensed a definite attitude of words and images, the undoing and limitation of the medium, and how she and her memories were shaped since don‘t know timelessly when. Meanwhile, new experiences that happened during the process of rebuilding keep going. What truth can be kept by a camera? A person connects to the other one making the memory alive. 　　Flash, Track is the second film of her three “regional photo” series practices. In a limited time, bringing a camera into a place, every experience and encounter contemplates and reflects her heart and image essence, while what was been recorded stands its own life, and all of these become something to keep for herself, the people, and the place.