在目睹一名病人诡异的创伤经验之后，萝丝·卡特医师（索茜·贝肯 饰）开始经历一些她无法解释的恐怖事件。当一股令人不寒而栗的可怕力量开始占据她的生活，萝丝就必须面对她令人不安的阴暗过去，才能够存活并逃离她充满恐惧的全新现实。

外文名：The Blossoming Rose地區: 香港語言: 粵語片種: 音樂Release Date: 02/03/1968導演：蔣偉光編劇：關磊演員：陳寶珠 胡楓 鄭少秋 沈芝華 杜平 鄭君綿 上官玉 容玉意 黎雯 許瑩英 區燕青 駱恭 白明出品公司：堅成影片公司剧情简介：【別名:台灣中文片名: 風雨玫瑰】工廠女工何少萍勤奮好學, 於夜校結識教師李漢忠, 雙雙墮入愛河. 富家女林金佩傾慕忠, 其父欲撮合二人, 安排忠與佩往外國留學, 但為忠所拒. 其後忠考獲獎學金出國, 行前與萍歡好. 萍誕下兒子, 為免影響忠求學, 向他隱瞞產子之事. 忠母病危, 萍不惜做吧女籌措醫藥費. 黃樹勳為追求萍, 拍下萍做吧女的照片, 向忠誣衊她自甘墮落及產下私生子. 忠信以為真, 與萍決裂, 更答允與佩返港結婚. 忠母因此大受刺激, 再度入院. 萍為替她治病, 到夜總會唱歌, 被忠當眾侮辱. 萍黯然出走, 母怒責忠. 忠找回萍, 向她懺悔, 二人再續前緣。故事梗概：工廠之花何少萍（陳寶珠飾）雖出身低微，好學的她冕上不斷進修，偶爾認識了兼職老師李漢忠（胡楓飾），少萍的學習度和漢忠的循循善誘，令相方互相欣賞而成為好友。富家女林金佩（沈芝華飾）鍾情漢忠，更出錢令漢忠能與她一起往外國深造，條件是忠跟她結婚，忠拒絕，少萍和忠好友吳彥文（鄭少秋飾）傾囊相助，忠遂得償往外國深造心願。臨行一夜，忠與萍一起渡過一個纏綿難忘的一夜。忠走後，萍辛勞工作及照顧忠染病的母親（黎雯飾），及後忠母病重需金錢治病，萍被迫做吧女籌取藥費，其間更誕下忠骨肉。工廠主任黃樹勳（鄭君綿飾）對萍早有意思，用計令忠和少萍產生誤會，後得忠母告之真相，忠恍然大悟，暴風雨中追尋少萍芳蹤... ...

由于小时候的交通事故，“我”的性格和个性因星期几而不同，他们以星期几的名字互相称呼，其中“星期二”是最朴素无聊的存在，是从其他星期开始被强加家里打扫等麻烦事的角色。但是，有一天，忙了整天后躺在床上的“星期二”在星期三醒来。我心中的“星期三”消失了，“星期二”歌颂星期三，但日常生活渐渐变成了恐怖。

Passages from James Joyce's Finnegans Wake 1965 16mm film 90minsThis was the first attempt to cinematize the works of Irish author James Joyce. Based more on a stage adaptation by Mary Manning than the Joyce novel itself, the film concentrates on Dublin pubkeeper Finnegan (Martin J. Kelly), who while in the throes of inebriation has a vision of his own death. As the bemused Finnegan lies in his coffin, his friends gather for his wake. The "corpse" tries to cut through the keening and platitudes by probing the innermost thoughts of those closest to him. The surprising aspect of this film is that so much of its difficult text works on screen--a tribute to the loving care of scripter/director/ editor Mary Ellen Bute, who, while preparing this film spent her waking hours picking the brains and burrowing through the resource materials of the James Joyce Society.Although director Mary Ellen Bute’s highly regarded Finnegans Wake (aka Passages from Finnegans Wake) is a unique film that is likely to baffle anyone unfamiliar with James Joyce, it cannot be dismissed merely as a literary exercise. The director was right in claiming that her film was “not a translation of the book but a reaction to it”. It is actually based on a stage play by Mary Manning, who was also responsible for the screenplay. Joyce’s elliptical rhetoric and intricate punning, which might be considered a formidable barrier to the filming of this most opaque of his works, proved to be an attraction to Bute, whose enthusiasm for the ‘visual’ and ‘kinetic’ quality of his language led her to the surprising but well-judged move of running subtitles from the original text to support the dialogue.Visual music pioneer Mary Ellen Bute's final film was also her first feature film. James Joyce's classic story of Irish tavern-keeper who dreams of attending his own wake is brought to the screen with a sparkling energy which highlights its maker's career-long exploration of kinetic abstract animation. Perhaps best described as a 'film poem,' Passages from Finnegans Wake was the first attempt to 'cinematize' the works of James Joyce, featuring the author's highly original language spoken by characters and presented as text on screen.