当极具创造力的当代编舞大师阿库·汉姆（Akram Khan）把目光投向玛丽·雪莱的科幻杰作《弗兰肯斯坦》时，就足以引起舞迷们的尖叫与期待。这部《造物》将故事背景放置当代，在一个破旧废弃的极地研究站中，人类为了满足自己在地球上最后的无主之地进行殖民的愿望，拿“人形生物”进行身体的实验。善良的清洁工玛丽的出现为“生物”带来了爱与希望，两人脱离掌控的行为遭到长官的打压，迫使“生物”走向沃伊采克式的悲剧结局。 　　孟加拉裔编舞家阿库·汉姆是当今最具世界影响力的编舞家之一，他自幼接受南亚古典舞体系训练，在与英国国家芭蕾舞团、芭蕾男孩舞团，云门舞集等知名舞团的广泛合作中，又吸取西方现代舞与芭蕾舞的精华，风格杂糅，却又呈现得十分纯粹。其代表作《吉赛尔》《陌生人》等曾荣获奥利弗奖、南岸天空艺术奖等多项大奖。在新作《造物》中，他选择用充满张力的舞蹈动作，塑造被禁锢的身体与渴望自由的灵魂，人性与兽性的拉扯交锋。

当极具创造力的当代编舞大师阿库·汉姆（Akram Khan）把目光投向玛丽·雪莱的科幻杰作《弗兰肯斯坦》时，就足以引起舞迷们的尖叫与期待。这部《造物》将故事背景放置当代，在一个破旧废弃的极地研究站中，人类为了满足自己在地球上最后的无主之地进行殖民的愿望，拿“人形生物”进行身体的实验。善良的清洁工玛丽的出现为“生物”带来了爱与希望，两人脱离掌控的行为遭到长官的打压，迫使“生物”走向沃伊采克式的悲剧结局。 　　孟加拉裔编舞家阿库·汉姆是当今最具世界影响力的编舞家之一，他自幼接受南亚古典舞体系训练，在与英国国家芭蕾舞团、芭蕾男孩舞团，云门舞集等知名舞团的广泛合作中，又吸取西方现代舞与芭蕾舞的精华，风格杂糅，却又呈现得十分纯粹。其代表作《吉赛尔》《陌生人》等曾荣获奥利弗奖、南岸天空艺术奖等多项大奖。在新作《造物》中，他选择用充满张力的舞蹈动作，塑造被禁锢的身体与渴望自由的灵魂，人性与兽性的拉扯交锋。

Kreatur is about the human body. Isolated or attached to a community, it becomes distorted under pressure. The show's based on the ideas of taking or losing power, of thinking about otherness or looking at oneself, of loving or hating oneself. And in visiting a former Stasi prison in Berlin, Sasha Waltz and her dancers found memorial and sensitive points of reference to work on the inhuman confinement that forced people to stay forever upright and awake. The choreographer alludes to a world in which physical and physiological constrictions force us to stay in movement. The body becomes the symbol of a struggle, caught as in a vice between concrete sensations of imprisonment and feelings of a freedom still to experience. To find our respective parts of light and darkness, she wanted to work with great artists to design the costumes, the space and its reflections, the metallic and concrete sounds of the show... All of it comes together to create a minimalist world in black and white, in which only the skin, the living, create colour, and where the creatures we see are images from a potential future, at once familiar and unknown.

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

印第安纳州一个人口不足千人的小镇，一所舞蹈学校也没有，这里就是21岁的罗琳•寇比（玛丽•伊丽莎白•文斯蒂德 Mary Elizabeth Winstead 饰）从小生活的地方。罗琳父母留下的小汽配厂现在由哥哥掌管，并且不出意外的话，罗琳以后的人生也将围绕汽配厂展开……可这不是她想要的生活，罗琳多年来一直自学舞蹈，这次她自驾前往芝加哥参加舞蹈学校的入学考试，希望得到录取以改变人生。 　　然而结果是残酷的，被淘汰的罗琳不甘于回家，在一位落考前辈的帮助下，她在舞厅找到了一份记账员的工作，并告诫自己舞厅的艳舞并非自己的风格，然而舞蹈的天性是不能隐藏的，终于因一个舞者的缺席，罗琳得到了一次展示自己的机会……

印第安纳州一个人口不足千人的小镇，一所舞蹈学校也没有，这里就是21岁的罗琳•寇比（玛丽•伊丽莎白•文斯蒂德 Mary Elizabeth Winstead 饰）从小生活的地方。罗琳父母留下的小汽配厂现在由哥哥掌管，并且不出意外的话，罗琳以后的人生也将围绕汽配厂展开……可这不是她想要的生活，罗琳多年来一直自学舞蹈，这次她自驾前往芝加哥参加舞蹈学校的入学考试，希望得到录取以改变人生。 　　然而结果是残酷的，被淘汰的罗琳不甘于回家，在一位落考前辈的帮助下，她在舞厅找到了一份记账员的工作，并告诫自己舞厅的艳舞并非自己的风格，然而舞蹈的天性是不能隐藏的，终于因一个舞者的缺席，罗琳得到了一次展示自己的机会……

视 觉上Flaming Creatures就是Josef von Sternberg加上疯狂的异装癖假面舞会家庭录影。Smith使用了过期黑白胶片，给影片一种缥缈的味道。影片没有情节，配乐用的是一组Maria Montez影片对白蒙太奇，hacienda音乐，和摇滚。他的影片里有搞笑阿拉伯女奴，狂放的西班牙舞者，等等。吸血鬼样的Marilyn Monroe模仿者，当然是男的，从棺材中爬出，出现在空镜头里，手里拿着一捆花，走过一堆尸体。然后开始掀开一尸体的衣服撩拨他的阴茎。就这样，性的复活最终让所有尸体复活，影片如标准的Busby Berkeley音乐剧一样结束了。

爱摄影，走到哪儿都要带着相机的爸爸；爱臭美，喜欢鼓捣手工护肤品的妈妈；爱撒娇，除了睡觉就是粘人的金毛小公举，一个温暖快乐的三口之家，通过影像记录下日常的手作点滴，取天然花草、原味香料和各种有机食材，经过质朴而简单有趣的手工，作出全家人养护肌肤、疗愈身心的日常用品。一段段抽离忙碌生活的独处时光；一件件带着温暖和自然气息的手作小物，串联成《造物集》中那些恰到好处的幸福光影。

爱摄影，走到哪儿都要带着相机的爸爸；爱臭美，喜欢鼓捣手工护肤品的妈妈；爱撒娇，除了睡觉就是粘人的金毛小公举，一个温暖快乐的三口之家，通过影像记录下日常的手作点滴，取天然花草、原味香料和各种有机食材，经过质朴而简单有趣的手工，作出全家人养护肌肤、疗愈身心的日常用品。一段段抽离忙碌生活的独处时光；一件件带着温暖和自然气息的手作小物，串联成《造物集》中那些恰到好处的幸福光影。