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In 1989, teacher Wendler and his wife leave the GDR to join his Bavarian uncle. In the West, the line-loyal educator with a whitewashed CV is immediately accepted back into the teaching profession. He advances to become a model Bavarian. Until one day a pupil from bygone GDR days turns up...

Susanne (17) and Robert (18) want to get married, but because Susanne is still under-aged, she needs parental permission. With twin babies and tight finances, the newlyweds soon feel overwhelmed, and dealing with everything makes them forget the love that originally brought them together.

《物质》定位十分明确：如何记录一个正处在转型期的国家？如何组织这些松散的材料？1989年前的生活给我们留下了什么？未来有什么希望？应该怎样处理这些“剩下的”图片？ 　　没有平白的叙述，只有导演的只言片语和Charles Ives哀伤的挽歌。导演通过对过去二十年来自己以及其他人拍摄的素材的整理和剪辑，让这些影像自己说话。从最近柏林的骚乱到1989年底亚历山大的大型集会，这是一个群众无视当局的罕见时刻，让人感觉任何事都可能发生。从舞台导演Fritz Marquardt在使《海纳穆勒的日耳曼-死在柏林》登上舞台的联合项目中的初步谈判到今天共和国宫的毁坏。在这部影片中，Heise用他自己的方式回顾了德国历史。从二十世纪八十年起Thomas Heise就开始这项工作，将社会政治问题融合在探索历史的过程之中。以新旧辩证的眼光，Thomas Heise密切的观察，让事件自己说话，为历史创造了更多可能。 　　A slow pan shot sweeps over a piece of wasteland next to a ruin, with the laughter of children playing in the distance: providing the background of these three motifs – childhood, landscape and loss. Then an announcement follows: “Certain things remain as surplus, leftovers that are undeveloped, unfinished. It is the same with images waiting for a story”. These unedited images, the very substance of the film, were made in the margins of other films (his own or other people’s) or shot under the urgent pressure of events. They cover the last twenty years. 　　The space of his Material is precise and well-defined: how to document a country undergoing transformation, how to articulate this scattered material, what is left of Life before 1989 and of the hopes for the future? What should be done with these ‘left-over’ images? 　　Nothing is explained directly, apart from a few rare snatches of the director’s commentary and the elegiac, melancholic music of Charles Ives. Heise leaves these situations caught up in their own intensity: from a recent riot of hoodies in Berlin to the enormous rally in the Alexanderplatz at the end of 1989, showing the crowds defying the authorities in one of those rare moments when there is a feeling that anything could happen; from preliminary discussions with the stage director Fritz Marquardt on a joint project to stage Heiner Müller’s Germania – Death in Berlin, to what remains today of the gutted Palace of the Republic. 　　In Material , Heise has constructed a personal reflection on Germany’s history and on his own method. Thomas Heise has been ploughing this furrow ever since the 1980s in the GDR, weaving together socio-political issues in his exploration of History. In a dialectic of the Old and the New, closely observing faces and letting words deploy themselves, he pays the necessary attention to this gesture, which opens up the material of History itself and its possibilities. 　　Film material shot over a 20 year period, a visual diary, outtakes that just will not leave their creators alone. Put together in a poetic way, in which chronology takes a back seat to sense and atmosphere. History is not a linear sequence but a pile of events.

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在德语中，当一切正常时，就是“Im grünen Bereich”，字面意思是在绿色区域。经过 13 年对三种颜色光的艺术研究（从 CAPSICUM 开始），这部电影（也制作了一本手工书）着眼于基本上是生命的颜色 - 绿色。 　　在柏林市政府 (Senatsverwaltung für Kultur) 的资助下，沃尔夫冈在 der Wiesche 创作了音乐。

在特摄剧和超级机器人系动画作品中享受极高声望的横山光辉老师原作的《GIANT ROBO（铁甲人）》再度动画化，这部续作的名字是《GR -GIANT ROBO-》。动画的主人公依旧是草间大作，超级机器人的机体设定也保留原案，但关于登场人物和世界观将会作出众多调整。 　　《GIANT ROBO（铁甲人）》诞生于1967年，是横山光辉老师绘制的一部漫画作品，当年还曾经拍摄成特摄剧，开创了巨大机器人热潮的时代。1992年，这部作品被搬上动画舞台，《GIANT ROBO：地球静止之日》的上映在日本国内外匀得到较高的评价。而2007年正是《GIANT ROBO》诞生40周年，制作一部新版的《GIANT ROBO》也的确是对这部影响了N代人的伟大作品的最好纪念。负责新版漫画剧本的依旧是《GIANT ROBO：地球静止之日》的监督今川泰宏，但动画版的制作小组成员将做出重大调整。

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2016年4月19日，副警长利奥·科尔失踪。第二天早上，他的执法记录仪被发现了。

2016年4月19日，副警长利奥·科尔失踪。第二天早上，他的执法记录仪被发现了。