Fernando Arrabal编剧和主演的超现实电影。 　　Casanova lives in the suburbs with his mother. He has grown up without ever ceasing to be a child over whom she watches jealously. He is nothing without her, yet he dreams of leaving home and meeting women. They loathe and adore each other. Every day he goes to the Gare Saint-Lazare, often taking with him a wicker trunk containing a rubber dummy which he sends off to some distant country. In this way he sends the doll on the journey he dreams of making himself. One day a coincidence brings him into contact with a woman. A thief is being chased, and a woman speaks to him. A street photographer takes their picture. They part, but Casanova is happy, and in the evening when his mother clearly senses that something has happened to him he shows her the ticket for the photo, just to taunt her: yes, he knows a woman. Her name is Syl. What he does not know is that Syl too has been waiting for him. She has a rich lover, but she does not love him and she dreams of something more exciting, just as Casanova does. Behind his shyness and aggressiveness she senses a disturbing quality in the young man which attracts her. If he is a dangerous sadist, even a potential murderer, so much the better. She follows him into a shop basement to give herself to him, and there, amid a mass of flowers, a savage struggle takes place; they seize each other, then reject each other, fight furiously... The mother has com to Paris in search of the photograph. When she sees her son with a woman she cannot contain her fury and she goes to the police and accuses him of killing women and putting their bodies in trunks. She gives details. The police promise to make inquiries. Syl follows Casanova back to his suburb. He wants to flee, but she pursues him, and they meet at a garbage dump near a motorway. She crawls to his feet, he goes to push her away but then undresses her. She has to submit completely to him, to accept everything he does to her; she is forced to cross the motorway naked, as the cars pile into each other. He throws her down in the mud, covers her unconscious body with her clothes and goes back to his mother and his childhood home. He returns to his attic full of dolls. His mother is waiting for him, full of love and hatred, but he has nothing to say to her; he is waiting for Syl. One of the dummies looks like her, and in a bust of schizophrenic frenzy he possesses and then smashes it. At last when Syl returns, they are bound together in the Great Ceremony. The room becomes a place of magic, the cupboards open to reveal every instrument of love and torture... Outside the door, the mother screams in terror. After burning the dolls, Casanova drags Syl out to the car. They are going away for ever. ... At an abandoned farm, a happy Syl is busy putting life back into the ruins. She is teaching Casanova how to be gentle, and how to be strong. She is teaching him to be happy. 　　Based on love, violence, and eroticism taken at their most horrifying extremes, the theater of Arrabal is a permanent demonstration of the state of our inner minds with their tangle of sadism, masochism, frustration and repressed hatred.

新年伊始，魔鬼就再度来袭。对于上帝和魔鬼，人们一直没有放弃过寻找其存在的证据。而我们所看到的总是基于我们到底相信什么。一名叫做迈克尔·柯瓦克（…

影片讲述了地方名门樱田家从1946年日本战败到影片拍成的1971年为止，长达25年的家族编年史。主人公满洲男是家族长孙，父亲战败自杀，母亲的护士出身一直不被家族接受，战前战时都是政府高官的祖父一臣是家族统治者，叔父辉道是一臣的私生子，此外还有若干各色人等都住在这个大家族里。这个世家是未被战败击垮的贵族家庭，在色鬼家长的统治下，从战前右派转为左派，一位庶出的孩子，就娶了一个共产党员为妻。家族中左右派互相排挤、敲诈，但又由于血缘关系相互依赖、共存共亡，可以说是日本战后历史社会的缩影。所有住在这里的人，无论政治信仰、阶级意识，几乎都没有好结果，甚至令人绝望地生活着。片中不断死亡的人物，或是死于非命，或是有意自杀，充满了天谴的恐怖氛围。日本战后历史心态、社会状况、政治斗争，就这样在影片中得到悔恨的反映

一位名叫麦克的医学院学生(科林·奥多霍诺饰)，其信奉科学的个性，对神鬼总是敬谢不敏、抱持怀疑。 　　直到偶然，他心不甘情不愿被派往梵蒂冈一所驱魔学校实习，在那儿，他遇到一位神父(安东尼·霍普金斯饰)，这位神父，即将带领麦克，进入潜意识的黑暗身处，眼看这也将是他痛苦的开端。

电影灵感源自上世纪20年代美国“艾玛·施密特事件”：女子艾玛被恶魔附身数十年，寻求修道院帮助后，经历了数次残酷的驱魔仪式。这也是美国历史上对“驱魔”记载最详尽的案例。电影主角是两位正在经历信仰动摇(史蒂文斯)、有着复杂过去(帕西诺)的牧师，他们必须放下分歧，通过一系列艰难而危险的驱魔仪式来拯救被附身的年轻女子。

电影灵感源自上世纪20年代美国“艾玛·施密特事件”：女子艾玛被恶魔附身数十年，寻求修道院帮助后，经历了数次残酷的驱魔仪式。这也是美国历史上对“驱魔”记载最详尽的案例。电影主角是两位正在经历信仰动摇(史蒂文斯)、有着复杂过去(帕西诺)的牧师，他们必须放下分歧，通过一系列艰难而危险的驱魔仪式来拯救被附身的年轻女子。

Another classic by Bordo Dovnikovic. Six people are grouped in front of a wall as if for a photograph. The entire ceremony is supervised by a seventh person, who, like a photographer, looks at the group from different angles and rearranges the group by hand-signals. 　　The picture is perfect. The camera shifts position and discloses a squad of soldiers with rifles at the ready; rifles aimed at the group of six. Volley of shots. Fade out. The End.

Five doctors on a wilderness outing are stalked by disfigured, crazed killers.

Eighteen individuals forming a narrow row are asked to move in front of the camera to look at something they would rather not see, to say goodbye to someone who'd left them, sharing their own ritual of grief with raw facial expressions.