一场车祸后，林月家里怪事连连，全身冰冷的姐姐，镜子里看不见家人的身影，黑夜里爸爸窥探的双眼，每天凌晨阁楼传来的弹珠声，林月循声而上，当阁楼的门被打开，却发现里面紧锁的却是自己的遗像……
改编自同名热门恐怖小说的电影《阴目侦信》发布先导预告，阴目征信社接到新Case了？ 原著讲述从小拥有阴阳眼的石头成长过程十多年来与鬼为邻，见尽生死相隔、人鬼殊途。身为香港首富伍氏豪门的子嗣，伍伯良身负家族世代相传、不可告人的惊天秘密。大学猛鬼宿舍，时辰一到，石头与新结识的伍伯良和怪人PATRICK，能否合力阻止鬼门大开？
Rani, a female police officer who handled a murder case in the restricted forest where she served. This case involved Tamara, a vlogger horror who was a victim of the chancel culture of the netizens due to being caught uploading a fake sighting video. Knowing the legendary story of the Devil's Market, Tamara and his team then went on a journey to find the Devil's Market to prove its existence and restore their good name. Problems arose when Tamara discovered the restricted area, but instead of being able to correct a good name, they were instead trapped inside it.
影片讲述连环杀手彼得·哈瑞斯20年后返乡，期间遇到漂亮女子艾希莉，为占有她，一个骇人听闻的决定在悄悄酝酿。该片下个月展开拍摄，预计明年上映。
本作は2ちゃんねる?オカルト板のスレッド「死ぬ程洒落にならない怖い話を集めてみない？」で語られた都市伝説の1つを映画化するもの。辺鄙な山道でヒッチハイクをしたばかりに狂気の一家に追われる若者たちの末路が描かれる。
位于东京的某区，山野一家三口过着富庶自在的生活。2010年9月3日，姐姐春花（青山伦子 饰）从美国归来，此前她在旅行中遭遇一场车祸，致令双腿严重骨折。弟弟幸一（中村苍 饰）是个开朗阳光的大男孩，他拿着新买的摄像机拍下了山野家生活的点点滴滴。由于父亲公务繁忙，平时只有姐弟二人在家。平静的日子并未持续太久，一丝不安便在屋子内肆意弥漫。春花发现，每当次日醒来床边的轮椅便会发生移动。为了探明真相，幸一决定在姐姐的卧房内安置摄像机，监控夜晚的情况。在屏幕前，不可思议的景象接连发生，姐弟俩似乎也陷入恶魔的诅咒中，无法逃脱…… 本片为恐怖片《鬼影实录》的日本版。
一年前，众人拼上性命展开殊死对决，终于镇压了娜町满腔怨念的复仇怨灵，小镇与古寺重归平静，所有人都以为噩梦已经结束。可尘封的诅咒从未真正消散，复仇的循环悄然重启。诡异异象接连在寺院周边浮现，当年的幸存者频频遭遇怪事，邪灵的气息越来越浓。一群年轻人误闯禁地，彻底唤醒了沉睡的怨念，这一次邪灵的力量比往日更加凶狠，一场更恐怖的浩劫即将席卷所有人，没人能逃出宿命的纠缠。
When, at the beginning of Deus Irae, Father Javier stares at a crucifix, his expressions and his hands suggest that the nerves are consuming him. A flashback reveals that this priest devotes his life to visiting families that claim to have seen things that do not belong to this world and cleansing their homes from the demons that try to possess them. But, upon returning to those houses, he notices that the evidence is always destroyed. This way, he discovers that a clan is after him, and must decide whether to hide from them or join them. In times when horror cinema tends to fall into the hands of directors that seek to build narratives that are introspective and close to reality, Pedro Cristiani goes back to old-school horror, where gore and the physical experience are above any other kind of feeling. A cinema that places the camera in front of the faces of the bloodiest demons and, instead of giving logic to them, chooses to face them whatever the cost.
