剧情简介： 　　卡夫卡是二十世纪著名的存在主义大师，本片以他为男主角，但并非一部严肃的传记片，只是以他年轻时的一段离奇遭遇，带出了一部相当别致政治惊险片。当时，卡夫卡是保险公司的一名小职员，虽已因出版《蜕变》一书而获得好评，却仍孤僻内向不跟同事来往。一天，唯一跟他来往密切的同事离奇落水死亡，其未婚妻无法接受警方是自杀的说法，乃找卡夫卡帮忙追查真相。由于他们两人都是无政府主义革命分子，该组织乃要求卡夫卡也加入组织，并帮忙撰写传单，卡夫卡拒绝所求，被卷入漩涡的中心，令他发现了可怕的真相。以《性、谎言、录影带》崛起的导演史蒂文．索达伯格将气氛拍得相当紧凑迷离，男主角杰瑞米．艾恩斯亦表演出色，将一个妄想狂的内心世界巧妙地呈现。

Kafka's strained relationship with domineering father and intriguing affairs with Bauer, Jesenská and Diamant explored, along with meaningful camaraderie with Brod.

探究卡夫卡生活的表面是种没有意义的事，不如直接进入他长涉的梦境中。导演借助演员的演绎那些卡夫卡的相关人士们（不管是环境上的还是历史的）来塑造他的轮廓。他们笔下的与卡夫卡的独特关系的真实写照成了这部电影的关键部分。或许可以用一种演绎的剖析来分解这位孤独的作家，因为现在心理学已经发展到了可以覆盖我们无法言说的禀赋，血脉和深处的姿态。对这类记录片，作个参照就行了。

舞台剧演员林家声正在排练卡夫卡的变形记，戏正在紧锣密鼓，准备上演中，他的法国女友Julie也抵达台北，他们见面之后，二人共渡良宵，第二天人却失踪了。…

舞台剧演员林家声（林哲熹 饰）正在紧锣密鼓地排练卡夫卡的《变形记》，准备上演中。与此同时，他的法国女友朱莉（朱丽亚·罗伊 Julia Roy 饰）抵达台北，二人共度良宵。然而，第二天却发现林家声神秘失踪了。原来，林家声被绑匪掳走。在家苦等多时的法国女友朱莉，同时苦恋林家声的剧场助理凤梨（简嫚书 饰），因找不到演员而找上门。在凤梨的协助下，朱莉开始寻找林家声，逐渐走入了光怪陆离的台湾社会之中。 　　与此同时，三名绑匪在黑帮老大突然被捕后发生了内讧。绑匪中的尤干决定继续绑架，带着林家声展开一场亡命旅途。在这颠沛流离的旅程中，步入险境的两人竟然产生了意外的认同感。

題材都是現成的，一個是Mordecai Richler的成名作，一個是弗兰茨.卡夫卡的同名小說改編。Caroline Leaf在玻璃上灑上海灘沙作畫，每一個畫面拍攝兩個frames後進行修改，再拍攝下一個畫面。這種作畫方式的特點是不能夠修改錯誤，如果犯了錯誤，別無選擇只能夠跟它繼續相處。毀掉重畫是不可能的。所以這種作畫方式的本質很像是自由寫作（free writing），作者讓筆自己把意念傳遞到紙上，如果出了錯誤就順其自然。也就是說，要有一點禪意。雖然說是作畫方式的要求，但隱約在畫風裡也可以讀到一點。

When Europe skips class to climb aboard an eight-wheel truck with a magnetic young man named Jupiter, little does she know of the journey of initiation that lies ahead of her. 　　"As a child, I experienced the pleasure of fiction thanks to my elder brother who would read Ovid's Metamorphoses to me in secret. I can still see us in that room we shared, him sitting cross-legged with the hefty volume on his lap, holding on to it for dear life with both hands for fear it might slip, while I took charge of the lighting, focusing on the pages the yellow beam of a flash lamp whose battery would inevitably die. [...] After eight feature films, I felt that the time had come to reimmerse myself in the vivid, timeless writing of Ovid. At a time in which the very mention of Greece immediately conjures up 'Greek debt', I felt it was urgent to remind ourselves of 'Greek heritage'." [Christophe Honoré]

Jan Němec's original proposal in 1966 to adapt Kafka's Metamorphosis as a theatrical feature was rejected by the Czech state film board. In 1974, he was forced into exile -- first seeking refuge in Germany: 　　CER: What impact did emigration from Czechoslovakia have on you personally and professionally? 　　JN: I have never emigrated. I was an exile. There is a very big difference. An emigrant is somebody who decides to leave the country, while an exile is chased away, like J A Komenský. In 1974, they wanted to put me in prison, but they gave me a choice, as with Milan Kundera. We were told that the criminal prosecution would be canceled if we applied for a legal departure motivated not by political protest but by a working contract. 　　I took this offer and left the country legally, so I had a Czech passport for another two years. But it was not like traveling. I couldn't come back. If I had, they would have seized my passport and began the criminal prosecution all over again, and I would be in prison. After two years they stripped me of my citizenship. So I have never emigrated and I have never applied for political asylum. I was "stateless," with no citizenship or no legal papers.

Jan Němec's original proposal in 1966 to adapt Kafka's Metamorphosis as a theatrical feature was rejected by the Czech state film board. In 1974, he was forced into exile -- first seeking refuge in Germany: 　　CER: What impact did emigration from Czechoslovakia have on you personally and professionally? 　　JN: I have never emigrated. I was an exile. There is a very big difference. An emigrant is somebody who decides to leave the country, while an exile is chased away, like J A Komenský. In 1974, they wanted to put me in prison, but they gave me a choice, as with Milan Kundera. We were told that the criminal prosecution would be canceled if we applied for a legal departure motivated not by political protest but by a working contract. 　　I took this offer and left the country legally, so I had a Czech passport for another two years. But it was not like traveling. I couldn't come back. If I had, they would have seized my passport and began the criminal prosecution all over again, and I would be in prison. After two years they stripped me of my citizenship. So I have never emigrated and I have never applied for political asylum. I was "stateless," with no citizenship or no legal papers.

TV film of Steven Berkoff's stage adaption of Kafka's famous story in which a young man who is the sole financial supporter of his family until he awakes one morning in the form of a giant dung beetle and thereby becoming a nuisance to his family, who must now learn to rely upon themselves.