《博物馆》讲述的故事发生在1985年，一群罪犯为了嘲笑墨西哥人类学博物馆的安全指数，而去盗窃博物馆中的140多件前西班牙的文物。尽管电影取材于1985年发生的真实事件，电影与原始事件本身一样让人吃惊，它以精细的手法接近真相，又在每一个转折处进行重塑，并借鉴了多种电影类型 。

《博物馆》讲述的故事发生在1985年，一群罪犯为了嘲笑墨西哥人类学博物馆的安全指数，而去盗窃博物馆中的140多件前西班牙的文物。尽管电影取材于1985年发生的真实事件，电影与原始事件本身一样让人吃惊，它以精细的手法接近真相，又在每一个转折处进行重塑，并借鉴了多种电影类型 。

《博物馆》讲述的故事发生在1985年，一群罪犯为了嘲笑墨西哥人类学博物馆的安全指数，而去盗窃博物馆中的140多件前西班牙的文物。尽管电影取材于1985年发生的真实事件，电影与原始事件本身一样让人吃惊，它以精细的手法接近真相，又在每一个转折处进行重塑，并借鉴了多种电影类型 。

In this three-part series Alastair Sooke (Treasures Of Ancient Rome, Pride and Prejudice: Having A Ball) explores the riches and unique legacy of Greek art. Episode One tells the story of Greek art from its surprising, often mysterious origins, travelling from Crete to Santorini, Mycenae to Delphi. Episode Two explores the astonishing development of classical art - the so called 'Greek revolution', asking how did the ancient Greeks get so good, so fast? The final instalment looks in detail at a handful of works that have achieved the status of masterpieces, tracing the complex and fascinating story of western civilisation’s love affair with Greek art, from the Romans to modern times.

在《古希腊的珍宝》中，艺术难道是将一系列精致的大理石作品放置在民主和开明的框架之内吗？实际上根本不是这样。文艺批评家、记者阿拉斯泰尔·索克表明，古希腊艺术实际上更多样化，而且令人惊奇——它是混合了多种风格、技巧和材料的多元文化，所有的主题都已经被探索过。本纪录片拍摄于地中海周围以及欧洲各地的几个奢华地点，阿拉斯泰尔表明，对古希腊艺术的局限性看法是站不住脚的。他的探索旅程从早期的克里特和迈锡尼文明中的田园之美，一直到世界上有史以来最惊人的精美艺术中那些充满色情、享乐主义和高潮的作品。

Harvie is a smart but a bit too lively boy with one ambition, to finish the last level of his computer game. Once in the Gamers Hall of Fame, his absent-minded father, would finally be proud of him. But finishing the game turns out to be only the start of a real adventure that takes Harvie, his dog Jerry, and his friend Monica deep into the forgotten realms of the city's old puppet museum.

Harvie is a smart but a bit too lively boy with one ambition, to finish the last level of his computer game. Once in the Gamers Hall of Fame, his absent-minded father, would finally be proud of him. But finishing the game turns out to be only the start of a real adventure that takes Harvie, his dog Jerry, and his friend Monica deep into the forgotten realms of the city's old puppet museum.

多姆是一家濒临倒闭的咖啡馆的咖啡师，他得到了一份意想不到的工作。这个提议来自一个咖啡馆的常客，Khatha，他点的咖啡他从来不喝。这份工作是在日落后才开门的一家奇怪的博物馆。几乎没有选择，多姆接受了卡沙的提议。第一天，一名员工告诉他博物馆闹鬼。被监督者禁止进入16区，多姆在里面受到诱惑。Khatha试图控制伤害，但是Dome无意中唤醒了一些东西，里面的几乎所有东西都设法溜走了。多姆承担起责任，并与卡沙一起，试图找到丢失的东西，以便让它们回到属于它们的地方。 　　Dome, a barista at a café on the verge of closure, receives an unexpected job offer. The offer comes from a café regular, Khatha, who orders coffee he never drinks. The job is at an odd museum open only after sunset. With few choices, Dome accepts Khatha's offer. 　　On his first day, an employee tells him the museum is haunted. Forbidden by the overseer from entering Zone 16, Dome is tempted inside. Khatha attempts to contain the damage, but Dome has unintentionally awakened things and nearly everything inside manages to slip out. Dome takes responsibility and, with Khatha, attempts to hunt down what went missing in order to return them to where they belong.

主持人吉米·多尔蒂走进英国自然历史博物馆的幕后，与博物馆工作人员进行近距离交流，探索该馆浩瀚藏品的秘密。 　　博物馆幕后是如何运作的？为何要保存7000万余件标本？馆中科学家们的研究工作，与当今世界有何关联？他们为保护生物多样性、防止热带传染病，又做出了何种贡献？ 　　共六集： 　　1. Museum in a Modern World.现代世界的博物馆 　　2. Digging up the Past. 挖掘过去 　　3. All Creatures Great and Small. 生物无巨细 　　4. Discovery. 发现无限 　　5. The Power of Insects. 昆虫力量 　　6. A Collection for the Future. 未来收藏

The Phantom Museum was originally commissioned by the Wellcome Trust as a video installation for the British Museum exhibition Medicine Man: The Forgotten Museum of Henry Wellcome, which ran from June to November 2003. This provided an opportunity for the public to examine some of the rarer items in the extraordinary collection of American-born pharmaceutical pioneer Sir Henry Wellcome (1853-1936), who assembled over 125,000 medical artifacts, many of which are currently stored in London's Science Museum and normally viewable by appointment only. 　　Typically, the Quay Brothers' film consists more of a series of impressions of the Wellcome collection than a guided tour, their approach summed up by its subtitle 'Random Forays into Sir Henry Wellcome's Medical Collection'. A linking device (shot on grainy black-and-white Super 8 stock) involves a man clad in a black suit and white gloves ascending staircases, warlking along corridors, switching on lights and investigating rooms full of cabinets bearing tantalising labels ('Shrunken Heads - Scalp'). 　　Interspersed with these are much sharper colour sequences, depicting various objects in Wellcome's collection. Sometimes they're displayed as static museum pieces, sometimes rotated, and occasionally animated. Many of the exhibits are explicitly sexualised, from the diagram demonstrating the use of a chastity belt (next to an example of the real thing) to tender Oriental sculptures of human lovemaking. Many of the collection's many dolls come apart to reveal their anatomically-correct innards - one female body has a baby in her walnut-sized womb, connected via an umbilical piece of string. 　　Prosthetic arms and legs abound, in one case attached to a live human body, while there are plenty of dead ones glimpsed in the collection's storerooms, their lipless mouths fixed in a permanent grin. If the film is often unsettling, this is less because of the Quays' proven feel for the uncanny than for the way the Wellcome collection itself inescapably exploits our most fundamental fears: of birth, sex, mutilation and death. 　　The Quays originally edited the film to pre-existing recordings of the music of Czech composer Zdenek Liska (previously featured in The Cabinet of Jan Svankmajer in 1984), but were unable to clear the necessary rights. In the final version, filmmaker-musician Gary Tarn provided a plangent semi-electronic accompaniment, occasionally interspersed with sound effects, notably in the shot of an old birthing chair and forceps being pressed into service on an invisible mother-to-be, whose baby can be heard crying as it emerges.