东京——『晓特区』。 这个国家新成立的经济特区预定地，将行政权让渡给了大企业『先岛Holdings』。围绕着仅适用于特区内的减税等权利，敌对企业策划种种阴谋，并最终爆发了大型暴动·晓抗争。内政荒废，先岛Holdings也解体。晓特区成为了国家自治也无从实现的无人管理地域。 有一群男人守护着化作无法地带的这座城市。 拥有封印着凶暴神兽之力的刺青「神圣刺青」的人类，通称为『SCARD』。他们各自拥有固有的特殊能力，以及能够将一切攻击无力化——如子弹在命中身体之前就被弹开，刀剑则会被粉碎——的防御力。 利用刺青能力守护城市的「赫利俄斯」、守护组织的「阿耳忒弥斯」、守护秩序的「公安特务」成为新兴势力，镇守于晓特区。 虽然微弱，但抗争仍在每天持续发生，即使如此他们仍然贯彻自身的「正义」。 他们在如此动荡当中生存——这是描绘他们理所当然日常的物语。

东京——『晓特区』。 　　这个国家新成立的经济特区预定地，将行政权让渡给了大企业『先岛Holdings』。围绕着仅适用于特区内的减税等权利，敌对企业策划种种阴谋，并最终爆发了大型暴动·晓抗争。内政荒废，先岛Holdings也解体。晓特区成为了国家自治也无从实现的无人管理地域。 　　有一群男人守护着化作无法地带的这座城市。 　　拥有封印着凶暴神兽之力的刺青「神圣刺青」的人类，通称为『SCARD』。他们各自拥有固有的特殊能力，以及能够将一切攻击无力化——如子弹在命中身体之前就被弹开，刀剑则会被粉碎——的防御力。 　　利用刺青能力守护城市的「赫利俄斯」、守护组织的「阿耳忒弥斯」、守护秩序的「公安特务」成为新兴势力，镇守于晓特区。 　　虽然微弱，但抗争仍在每天持续发生，即使如此他们仍然贯彻自身的「正义」。 　　他们在如此动荡当中生存——这是描绘他们理所当然日常的物语。

东京——『晓特区』。这个国家新成立的经济特区预定地，将行政权让渡给了大企业『先岛Holdings』。围绕着仅适用于特区内的减税等权利，敌对企业策划种种阴谋，并最终爆发了大型暴动·晓抗争。内政荒废，先岛Holdings也解体。晓特区成为了国家自治也无从实现的无人管理地域。有一群男人守护着化作无法地带的这座城市。拥有封印着凶暴神兽之力的刺青「神圣刺青」的人类，通称为『SCARD』。他们各自拥有固有的特殊能力，以及能够将一切攻击无力化——如子弹在命中身体之前就被弹开，刀剑则会被粉碎——的防御力。利用刺青能力守护城市的「赫利俄斯」、守护组织的「阿耳忒弥斯」、守护秩序的「公安特务」成为新兴势力，镇守于晓特区。

失聪女孩佐伊（阿曼达·阿德里安 Amanda Adrienne 饰）独自驾车前往新墨西哥州，只为了见一见她深爱的男友。炎热的荒漠公路上，心情快乐的佐伊险些撞到一名受伤的印第安人，她看到一伙白人匪徒正对另一名印第安人展开杀戮，出于善良和同情，她出手相助，却让自己置身于莫大的危险之中。佐伊遭到匪徒们残酷虐待，最终更惨遭杀害，曝尸荒野。善良的印第安老人取回了佐伊的尸体，并利用千百年来流行的咒术帮她还魂。 　　只不过睁开双眼的佐伊，却变成了一个充满复仇怒火的恐怖魔女。血债血还，所有让她置身如此境地的邪恶之徒都将为此付出代价。

南非科萨族的割礼仪式，是每名男孩成为男人前的人生大事。由割包皮到等待伤口复原，部族内的男子经历了一场雄性的成人礼。寂寞工人科拉尼，每两年都出任…

艾米·汉莫将主演一部未定名惊悚新片，巴巴克·安瓦里(《阴影之下》)执导，Annapurna Pictures出品。汉莫饰演新奥尔良的一名酒吧男招待，在捡到了某人遗…

The way Susan Purdue sees it, the patricide she’s been planning for so long isn’t just an act of revenge, it’s a necessity. When her father returns to the family home, all is long since prepared and the killing can finally occur. The rotten soul will pay for his unpardonable, incestuous transgressions against his daughter when she was just a child. But once her dad is good and buried in the backyard, Susan doesn’t find the closure she anticipated. Tormented by a host of demons and trapped in a dead-end job, she slides quietly into a deep madness that blurs the distinction between her banal reality and her nightmarish, sadomasochistic fantasies. To survive, she submits herself to a strict dominator for whom the worst tortures are the same as the most gentle caresses. 　　Tanya has a boyfriend, skips school and gets her kicks hanging out in sleazy dives. She’d be a pretty unremarkable teen if not for the identity crisis that has gnawed inside her for so long. Adopted at birth, she ties her troubles in life to the fact that she has no idea who her true parents are. One afternoon, her therapist gives her what she has always wanted—confidential documents from the orphanage at which she was so cruelly abandoned. While the dossier doesn’t identify her father, her mother’s name is marked down as Susan Purdue. The destinies of these two women will cross, leading them both into a parallel world of unearthly creatures of flesh and latex, a place where the most shocking perversions are realized. At the heart of this purgatory of the senses, the masks will fall and the unbearable truth will surface in a sea of blood. Tanya and Susan, each other’s mirror image, will have to face themselves. Abandon hope, all who enter here. 　　With the stunning documentaries TRANSFIGURED NIGHTS and BOUND FOR PLEASURE, presented at Fantasia in 2008, the fetishistic fascinations of New Zealand filmmaker David Blyth (creator of the cult hits DEATH WARMED UP, RED BLOODED AMERICAN GIRL) were revealed. His highly anticipated return to fiction explores his themes anew, transposed to the screen like a lucid fever dream. One proceeds with caution into his dark universe, where only the logic of fantasy is the guide. Blyth surprises by expertly echoing the atmospherics of Lynch while recalling ANGEL MINE, his debut feature film. Blyth punctuates this journey with violent images as bizarre as they are disturbing, from a painful castration to an unusually grotesque birth. Bewitching and phantasmagorical, dangerous and amazing, WOUND will leave its mark on you. 　　—Simon Laperrière (translated by Rupert Bottenberg)

The way Susan Purdue sees it, the patricide she’s been planning for so long isn’t just an act of revenge, it’s a necessity. When her father returns to the family home, all is long since prepared and the killing can finally occur. The rotten soul will pay for his unpardonable, incestuous transgressions against his daughter when she was just a child. But once her dad is good and buried in the backyard, Susan doesn’t find the closure she anticipated. Tormented by a host of demons and trapped in a dead-end job, she slides quietly into a deep madness that blurs the distinction between her banal reality and her nightmarish, sadomasochistic fantasies. To survive, she submits herself to a strict dominator for whom the worst tortures are the same as the most gentle caresses. 　　Tanya has a boyfriend, skips school and gets her kicks hanging out in sleazy dives. She’d be a pretty unremarkable teen if not for the identity crisis that has gnawed inside her for so long. Adopted at birth, she ties her troubles in life to the fact that she has no idea who her true parents are. One afternoon, her therapist gives her what she has always wanted—confidential documents from the orphanage at which she was so cruelly abandoned. While the dossier doesn’t identify her father, her mother’s name is marked down as Susan Purdue. The destinies of these two women will cross, leading them both into a parallel world of unearthly creatures of flesh and latex, a place where the most shocking perversions are realized. At the heart of this purgatory of the senses, the masks will fall and the unbearable truth will surface in a sea of blood. Tanya and Susan, each other’s mirror image, will have to face themselves. Abandon hope, all who enter here. 　　With the stunning documentaries TRANSFIGURED NIGHTS and BOUND FOR PLEASURE, presented at Fantasia in 2008, the fetishistic fascinations of New Zealand filmmaker David Blyth (creator of the cult hits DEATH WARMED UP, RED BLOODED AMERICAN GIRL) were revealed. His highly anticipated return to fiction explores his themes anew, transposed to the screen like a lucid fever dream. One proceeds with caution into his dark universe, where only the logic of fantasy is the guide. Blyth surprises by expertly echoing the atmospherics of Lynch while recalling ANGEL MINE, his debut feature film. Blyth punctuates this journey with violent images as bizarre as they are disturbing, from a painful castration to an unusually grotesque birth. Bewitching and phantasmagorical, dangerous and amazing, WOUND will leave its mark on you. 　　—Simon Laperrière (translated by Rupert Bottenberg)