強尼與芭芭拉這對兄妹開車來到位於賓州的公墓，準備為他們的父親掃墓獻花。芭芭拉對於墓園的一切感到莫名的恐懼，正當強尼嘲笑地嚇她：「芭芭拉，他們要來抓你囉。」，墓碑後忽然撲出一名肢體行動緩慢詭異的蒼白男子，攻擊他們，芭芭拉在強尼的犧牲掩護下逃到了附近農家，與其他倖存者困守屋內，活屍出動，恐懼開始一發不可收拾……。

1968年，導演喬治羅密歐推出了第一個版本的《活死人之夜》以來，就以獨特的恐怖美學和社會觀察，提出對越戰後、六零年代末期的美國社會現象的諷刺與批判，被譽為具歷史、文化意義和美學重要性的經典。數十年後，動畫版《活死人之夜：復活》，以集體創作的模式，邀集了全球多位知名動畫家、藝術家及電影工作者，重新以現代的觀點和視覺表現手法，從電腦動畫、手繪插畫、偶動畫到真人擬像，不但讓這部恐怖經典動畫再度重獲新生，透過多元豐富的影像拼貼，也注入了更新的當代思索。

Night of the Living Dead: REANIMATED features the work of various artists, animators, and filmmakers from around the globe. The mixed media featured include puppetry, CGI, hand-drawn animation, illustration, acrylics, claymation, and even 'animated' tattoos, just to name a few. This mass-collaboration approach is less about remaking Romero's film and more about viewing the classic through an experimental lens. Instead of trying to alter Image Ten's work, NOTLD:R seeks to showcase the responses that artists from around the world have had to this landmark film.

影片開始於一場突然的車禍意外，唯一的倖存者瑪麗奇蹟似的生還，但卻忘了所有的事情。康復之後，來到鹽湖城的小鎮教堂擔任風琴樂師，除了鄰居男子的追求糾纏，生活似乎逐漸恢復正常，但此時，瑪麗卻開始不斷地看見一名面容慘白的鬼魅男子，接連出現的怪事，也逼得她幾近崩潰…。

被視為美國經典恐怖Cult電影的《靈魂狂歡節》，自1962年首映以來，一直是眾多影迷必看的朝聖之作，甚至影響了後來《活死人之夜》、《鬼店》等片。全片以表現主義式的鬼魅氛圍、自我記憶探索的心理驚悚、以及現代主義式的幾何構圖，宛如《卡里加利博士的小屋》+《去年在馬倫巴》的次文化Cult版，在幽微奇異的影像張力中，展開一場靈魂的奇詭狂歡。片中大量運用深富宗教意味的教堂風琴配樂，與情節安排上牧師、鄰居、小鎮輿論等保守社會氣氛，形成環境壓抑的象徵，與女主角對信仰的懷疑，以及多次深陷幻覺與鬼魅對面等精彩畫面，及至片尾反轉存在意義的體認，形成了另一重有趣的存在主義解讀。

「黑暗中，幻想如同脫韁野馬，自由奔馳；天亮後，一切又將恢復正常。」--瑪麗/《靈魂狂歡節》

Mary Henry is enjoying the day by riding around in a car with two friends. When challenged to a drag, the women accept, but are forced off of a bridge. It appears that all are drowned, until Mary, quite some time later, amazingly emerges from the river. After recovering, Mary accepts a job in a new town as a church organist, only to be dogged by a mysterious phantom figure that seems to reside in an old run-down pavilion. It is here that Mary must confront the personal demons of her spiritual insouciance.

Carnival of Souls is a low budget 1962 horror film starring Candace Hilligoss. Produced and directed by Herk Harvey for an

風流倜儻的伯納德在夜店認識了美少女珍，意外捲入一樁殺人事件中，雖然一切線索都指向珍，但伯納德相信她是無辜的，兩人於是展開了追查真兇的逃亡之旅，黑函、勒索、謀殺、綁架，致命的吸引力與逼近的暴力危險，也讓這場追凶之旅一發不可收拾……。

義大利情色導演的早期經典《該死的甜蜜》，宛如暴力情色版《春光乍現》，安迪沃荷＋安東尼奧尼的前衛新寫實影像，穿梭遊走在城市的角落，攝影棚的白幕前後曲線畢露的胴體剪影，普普風的圓點床單上激烈的翻雲覆雨，將犯罪與死亡轉化成禁果般甜美的誘惑，欲望就像蛋殼般光澤誘人又危險脆弱，稍一觸壓就可能破碎，流淌出難以想像的真相，越是甜蜜，越是該死的可怕…。快速流暢的影像節奏、大膽跳接的敘事手法，也展現出《斷了氣》之後的自由影像風格。

當年清甜可人的依娃艾林，在片中大膽裸露演出多場激情戲，卻依舊展現天真無邪的自然甜美，堪稱真正萌系美少女始祖，看似無辜無瑕卻又暗藏心機的精湛演技，也以本片奠定個人影壇地位，成為六、七○年代最受歡迎的歐洲影星之一。

Bernard meets Jane in a Night Club, in London, and he likes her. Her father was killed in a car accident, but Jane thinks he has been killed because he was blackmailed for a picture of his second wife, Jane's mother in law. In the same Night Club Bernard finds the blackmailer corpse and Jane near him, but he believes she is innocent. So Bernard and Jane run away followed by a dwarf, the blackmailer's men, who believe Bernard killed their boss and of course, the Police. They believe that Jerome, Jane's brother, can help them to solve the case. But Jane doesn't know where he is, or so she says. Corpse after corpse, Bernard will find out the truth.

西部風情的黃沙荒漠中，一個身穿黑皮衣、撐黑傘的大鬍子男，騎著馬，背著他裸體的小孩，埋葬了玩具及孩子母親的照片之後騎馬離去，也展開了殘暴至極、至死方休的復仇歷程。在這部被視為午夜電影的經典之作中，導演以超現實的影像、大量的血腥畫面，與基督教象徵交相混雜互映，獨特的怪異美學，被已故披頭四主唱約翰藍儂、《穆荷蘭大道》奇幻名導大衛林區視為最喜愛的電影，成為Cult影迷們必看的朝聖電影。紀錄片《Ｂ級電影史》中，也大篇幅地探討本片所引發的獨特午夜文化。

導演尤杜洛斯基生於1929年的智利，年輕時曾遠赴巴黎與馬歇馬叟（Marcel Marceau）學習默劇。六○年代開始從事文學及劇場創作，活躍於巴黎及墨西哥的前衛劇場，七零年代自編自導自演所完成的《鼬鼠》， 以及後來的《聖山》，也奠定其影史地位。「毀滅」與「重生」是《鼬鼠》片中的不斷重複的主題，在影片前半部的毀滅之後，緊接而來的是重生的開始，影片大量隱藏的象徵與符號，每每重看都能有不同的發現，如同尤杜洛斯基所說，拍任何一部影片，他必須要改變他自己，要先殺了自己，以獲得重生。

A bearded stranger, clad in black leather, rides his horse on a sandy plain. His naked son sits behind him. The father says "Now you are a man. You are seven years old. Bury your favorite toy and your mother's picture." The burial consists of propping these symbols up in the sand. The father and son come to a town, a scene of carnage, a town of corpses and entrails; animals, children - everyone has been butchered and the waters flow red with blood. The bearded man in black leather becomes a gunfighter out of the old west. An avenger, he tracks down the murderous bandits and proceeds to castrate their warlord. With the words, "Destroy me. Depend on no one," he leaves his song with a group of monks that he has liberated and takes up with the warlord's mistress...

《聖山》是尤杜洛斯基在完成《鼬鼠》之後，更具影像企圖心的作品。不同於《鼬鼠》西部牛仔的復仇故事，《聖山》展開的另一趟探索永生秘密之旅。影片改編自西班牙神秘神學聖師十字若望(St. John of the Cross)的《攀登加爾默羅》(The Ascent of Mt. Carmel)，以及Rene Daumal未完成的寓言小說，一個貌似耶穌的男子甦醒過來，臉上爬滿蟲子，接著他跟著救他的侏儒來到古怪詭異的市集，與一群身穿禮服的青蛙、被釘在十字架上的動物屍體一起遊行，逐步攀登聖山，以獲得啟蒙與永生的秘密之道。詭譎荒誕的人物、奇魅超現實的影像風格，宛如費里尼與布紐爾影像的變種融合，不僅揭示了更複雜難解的宗教思索，也更深刻探索了宗教／神秘主義、電影幻象／現實心靈之間的曖昧邊界。

在完成《聖山》後，製片Allen Klien要求導演趁勝追擊，拍攝《O孃的故事》，他卻執意要拍《沙丘魔堡》，兩人於是反目成仇，製片甚至毀掉《鼬鼠》與《聖山》的所有拷貝以示報復，經過多年的訴訟，兩個白髮蒼蒼的老人終於握手言歡，也讓影片得以重新與影迷見面。

Awakening from a comatose sleep and covered in insects, a bearded thief is almost crucified by children but he is then rescued by an amputee dwarf. After he and the dwarf share a joint, they travel through different scene after scene of surreal images. They wander into a town populated by freaks, fascists, hookers, and religious fanatics, where skinned, crucified livestock are paraded down the street. Costumed frogs and iguanas bloodily reenact the Spanish conquest of South America, Innocent people are massacred, and birds fly out of their bullet wounds as soldiers of this Mexican police state rape peasant women for the benefit of tourists who photograph these horrific tableaux. The thief gets drunk with Roman soldiers who proceed to use his body as a mold to create hundreds of kitschy Christ statues. He returns to the street and, with the aid of a fistful of balloons, he rises to the top of tower where he encounters "The Master," an alchemist (Jodorowsky). The alchemist demonstrates his transformational prowess by turning the thief's excrement into crystals and gold.

恐怖片究竟反映了什麼樣的社會真實或潛在恐懼？1968到1978年間的低成本B級恐怖電影，可說是從心理底層、更誠實地反映了當時美國社會的黑暗面。《美國夜驚魂》以1970年代美國獨立恐怖電影的黃金時期為背景，深入訪談多位重要導演，如何打破了傳統恐怖電影的遊戲規則，以更駭人的恐怖美學，呈現類型與社會氛圍的微妙連結。

如今已成為美國恐怖片大師的喬治羅密歐，在六○年代末推出了恐怖經典《活死人之夜》，不但成為近代殭屍系列的始祖，片中破天荒啟用黑人擔任男主角，呈現對社會階級的探討，之後黑人民運領袖金恩博士被刺殺，也讓電影中的恐怖活生生延續到現實中。《驚聲尖叫》、《殺人不分左右》導演魏斯克瑞文的早期電影中，殘忍血腥的殺人畫面，和越戰處決犯人的慘狀並無二致。大衛柯能堡的恐怖電影，《顫抖》(Shiver)，以異常的性行為描述，反映了七○年代的性解放。賣座最高的恐怖片《月光光心慌慌》，則反映了家庭的瓦解。早熟的性愛，經常是被殺人魔處罰的對象。托比霍柏的經典之作《德州殺人電鋸》，把現實中的殘酷，放大成難以忍受的血腥恐怖。潛藏在所有粗暴、殘殺、凌虐的視覺暴力背後，或許正是人們在現實生活中無法說出的恐怖記憶與集體恐懼，只有透過影像的宣洩獲得抒發。

Horror films have often been more than simple scares. At their best, they reflect society's anxiety and concerns. In this film, major horror film makers such as George Romero, John Carpenter (on Halloween), Wes Craven (Last House on the Left), Tobe Hooper (The Texas Chainsaw Massacre), and David Cronenberg (Shivers) discuss the creation of their films in the 1960s and '70s and how they related to contemporary events while interviewed intellectuals give their own opinions. Tis documentary also introduces provocative ideas about where horror comes from, in describing the out-of-kilter experience of watching these affronts to good taste, and suggesting why they thrill as well as scare us.

《B級電影史》以知名影評人羅森鮑姆（Jonathan Rosenbaum）和霍伯曼（J. Hoberman）的同名電影研究書籍為基礎，導演史都華山姆士完整收錄了七○年代後期午夜院線強檔影片的片段，包含《鼬鼠》、《活死人之夜》、《哭泣寶貝》、《洛基恐怖秀》及《橡皮頭》等作品，從另一種壞品味美學的角度，重新省視B級電影所呈現的文化特色與社會意涵。

《活死人之夜》中僵屍的恐怖噁心，其實別有其政治內蘊偏鋒，智利導演尤杜洛斯基的《鼬鼠》，則是將布紐爾和塞吉里昂尼的魔幻風格綜合發揮，牙買加電影《不速之客》讓雷鬼音樂滲入美國，而到《橡皮頭》瀰漫的詭異、駭人和藝術性，更成為經典。其中，看似胡鬧的《洛基恐怖秀》中的文化意涵，直到數十年後的今天，曼哈頓14街一家戲院仍然在大銀幕上每個週末午夜放映這部電影，上下同樂的觀影過程更成為一種儀式，比起惡搞樂趣，隱含更深刻的文化命題。知名壞品味導演約翰沃特斯（John Waters）在片中也現身說法，講述影迷們如何耽溺於這些影片的搞怪邪惡趣味，也點出所謂B級背後的複雜本質。

Midnight Movies: from the Margin to the Mainstream is a feature documentary that tells the hidden history of these classic Midnight Movies of the 1970's-- The Mole, Night of the Living Dead, The Harder they Come, Pink Flamingos, Rocky Horror Picture Show, and Eraserhead.

Between 1970 and 1977 these six low budget films, shown at midnight, transformed the way we make and watch movies, films that re-invented the medium while pushing the boundaries of “bad taste”and“social taboos ”, Attending“midnight movies” became a social identifier, a badge of one's intellect, a mark of a person's cinematic sensibilities and cultural allegiance, a rite of passage for a whole youth generation in crisis.

The documentary tells the hidden history of these “classics” ,-- through original interviews with the directors and creators of the films; with first hand accounts from the theater owners who programmed them, and especially from the audiences of disaffected youth culture, seen through archive footage, who got their weekly dose of filmic nihilism inside these darkened moviehouses.

Today, their ironic sense of humor, their flaunting of bad taste, their celebration of the grotesque and the bizarre, their championing of sexual diversity, have all become firmly established in mainstream American popular culture.

＊本片母帶因年代久遠，可能影響觀影品質，特此說明。

掀起台灣社會寫實電影風潮的始祖經典，根據當年轟動全台的同名紀實小說改編而成。全片以主角馬沙的第一人稱自述，展開自我的犯罪告白，從小在妓女戶長大的馬沙，因為環境的影響，童年時就在紅燈區當把風小弟，長大後索性擔任起保鑣，好勇鬥狠、熱血衝動，意外誤殺嫖客而被判刑十五年。入獄後的馬沙依舊不改逞兇好鬥的性格，不斷打架鬧事，甚至還逃獄，終究還是被捕，移送外島管訓。歷經了生死起伏的人生，馬沙偶然間巧遇已經當上警察隊長的小學同學，於是下定決心痛改前非，但是過去的污點，真的可以這麼輕易地被遺忘嗎？誤入歧途的人生真的可以重新再來嗎？

導演蔡揚名以流暢的影像處理，將犯罪類型與社會觀察巧妙結合，堪稱艋舺黑幫電影第一人。片中並大膽起用具有黑道背景的馬沙，飾演片中改邪歸正的男主角，戲裡戲外身份上的微妙呼應，在當時也引起了相當大的轟動，馬沙因此成為台灣犯罪類型的第一男主角，一身鮮艷斑斕的真刺青，也使他成為真正道地的「漂泊的七逃人」。

此次影展有幸獲得導演蔡揚名大力協助，終於讓這部社會寫實經典得以在大銀幕重現，機會難得錯過不再。

A classic work of 80's Taiwan crime and gangster Films. The film adapted from a best-selling novel, a true story of a criminal's confession. Masa, an orphan who grows up in brothel. He becomes a bodyguard and works for the prostitute. Masa used to act out of blind impulse and fights with people all the time. One day, he accidentally kill a gay and has been sentenced to fifteen yeras in prison. After he finally realize that he should make a change of his miserable life...

＊本片母帶因年代久遠，可能影響觀影品質，特此說明。

凌晨六點，是早年台灣執行死刑犯槍決的時間，也是他每天被昔日惡夢驚醒的時間。馬沙在片中再次飾演充滿悔意的前科犯，年輕時是個碼頭上詐騙詐賭的小混混，因為仇家對頭樹敵太多，混不下去的他於是轉行改當的私家司機，深愔騙術、擅營形象的他，也因此受到好心富商的賞識和信任，原本以為他會就此改邪歸正，從此步入正途，但沒想到他卻因為一時利慾薰心，設下連環騙局，害得富商傾家蕩產，甚至犯下滔天大罪、被判死刑，這時馬沙終於醒悟了自己過錯，但一切卻為時已晚……。

結合賭片、犯罪、暴力等多重類型元素，導演蔡揚名在《凌晨六點槍聲》中展現了商業通俗與現實觀察兼具的影像特色，影片一開場以鴿群飛越城市上空的迴旋鏡頭，搭配蒼涼男聲的主題配樂，獨樹一格的通俗詩意令人驚豔。曾經紅極一時的武打明星李小飛，當年在片中飾演年輕時偷拐搶騙的小混混，生動自然的流氓痞樣，靈活俐落的動作身手，堪稱台灣影史師奶殺手第一人。

A cloudy rainy morning, Xiao-Ma wake up at six in the morning from nightmare again. He was a thief, fraud and gambler before. In order to get more money to pay his debts, he set up tricks to cheat a rich merchant who has been very nice to him. Xiao-Ma thought its’ harmless, but things turn out out of his control....