《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.

《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.

方仰天作为家族第三代掌舵人，将家族珠宝公司推上高峰。然而，一场交通意外打破了平静。在生死关头，三个儿子却只顾尔虞我诈，导致公司股价急泻。幸好，仰天及时苏醒过来。仰天康复后，竟然牵着一个名叫林澄的女人回家，并宣布了三件大事：一、他要迎娶这个比自己小三十岁的嫩妻；二、将家族资产成立信托，自己名下的遗产归零；三、负责管理这份信托的是一家联合家族办公室，执行人名叫高深。方家上下群起反对，阻挠林澄成为方家的女主人。三个儿子甚至怂恿祖母上法庭，试图推翻信托。仰天宁愿与母亲打官司，与儿子撕破脸，也不肯就范。他不仅要在仅余的日子里教好儿子，也要找出主使那场车祸、一直潜伏在家族内部的沉底鳄……

方仰天作为家族第三代掌舵人，将家族珠宝公司推上高峰。然而，一场交通意外打破了平静。在生死关头，三个儿子却只顾尔虞我诈，导致公司股价急泻。幸好，仰天及时苏醒过来。仰天康复后，竟然牵着一个名叫林澄的女人回家，并宣布了三件大事：一、他要迎娶这个比自己小三十岁的嫩妻；二、将家族资产成立信托，自己名下的遗产归零；三、负责管理这份信托的是一家联合家族办公室，执行人名叫高深。方家上下群起反对，阻挠林澄成为方家的女主人。三个儿子甚至怂恿祖母上法庭，试图推翻信托。仰天宁愿与母亲打官司，与儿子撕破脸，也不肯就范。他不仅要在仅余的日子里教好儿子，也要找出主使那场车祸、一直潜伏在家族内部的沉底鳄……

方仰天作为家族第三代掌舵人，将家族珠宝公司推上高峰。然而，一场交通意外打破了平静。在生死关头，三个儿子却只顾尔虞我诈，导致公司股价急泻。幸好，仰天及时苏醒过来。仰天康复后，竟然牵着一个名叫林澄的女人回家，并宣布了三件大事：一、他要迎娶这个比自己小三十岁的嫩妻；二、将家族资产成立信托，自己名下的遗产归零；三、负责管理这份信托的是一家联合家族办公室，执行人名叫高深。方家上下群起反对，阻挠林澄成为方家的女主人。三个儿子甚至怂恿祖母上法庭，试图推翻信托。仰天宁愿与母亲打官司，与儿子撕破脸，也不肯就范。他不仅要在仅余的日子里教好儿子，也要找出主使那场车祸、一直潜伏在家族内部的沉底鳄……

方仰天作为家族第三代掌舵人，将家族珠宝公司推上高峰。然而，一场交通意外打破了平静。在生死关头，三个儿子却只顾尔虞我诈，导致公司股价急泻。幸好，仰天及时苏醒过来。仰天康复后，竟然牵着一个名叫林澄的女人回家，并宣布了三件大事：一、他要迎娶这个比自己小三十岁的嫩妻；二、将家族资产成立信托，自己名下的遗产归零；三、负责管理这份信托的是一家联合家族办公室，执行人名叫高深。方家上下群起反对，阻挠林澄成为方家的女主人。三个儿子甚至怂恿祖母上法庭，试图推翻信托。仰天宁愿与母亲打官司，与儿子撕破脸，也不肯就范。他不仅要在仅余的日子里教好儿子，也要找出主使那场车祸、一直潜伏在家族内部的沉底鳄……

某座住宅区，负责公寓内各项维修事务的菲恩（Matt O'Leary 饰）和约瑟（George Finn 饰）是一对穷的叮当响的好基友。某天菲恩的女友凯莉（Danielle Panabaker 饰）来到他们的住处，当得知住在隔壁的贝先生已经很长时间没走出房门时，凯莉自告奋勇上门查看，结果却一脸错愕地回到二人面前。原来贝先生早已不见踪影，房间内一面墙贴满了以三个人为对象的拍立得照片，窗口则有一台奇怪的机器正对着菲恩和约瑟的房间。不久后他们发现，那台机器竟是可以拍摄到未来情景的照相机。他们发现了贝先生的尸体，然而因为照相机的原因秘藏了此事。 　　无意间拥有了窥视未来的手段，年轻人们的心不知不觉躁动起来……

All that film is can be reduced to two elements: light and (proportionately structured) movement. And there are many possible answers to the question of what light and proportionate movement are. In REALTIME, Siegfried Fruhauf has decided on the most simple one, summing it up in the most symbolically unequivocal and, literally, most illuminating way: the sun. The light of the sun is the only type of lighting used to illuminate the movie screen in REALTIME. And the sunrise, filmed in realtime, is the only discernible motion – which makes us realize that all motion, in film and in the cosmos, is temporal. Everything else about film is negotiable, such as the fuzzy area between (justified) expectation and (actual) fulfillment, which is known as suspense. After the moving electric arc on the screen has been revealed to be a heavenly body, we have every reason to believe that it will continue its forward motion in an absolutely constant orbit. At the same time, we eagerly ask at which point (and/or through which points) the filmmaker will remove his gaze from it. Or the soundtrack, which also represents an arbitrary matter, and which is called music in the most arbitrary of cases. The irreversible movement of Fruhauf´s protagonist is accompanied by the groove of a playfully altered pop song – the absolute meter is subordinated to a moment of subjective duration. REALTIME returns the possibilities available to film to their absolute zero – and provides a clever hint at what can be reimagined proceeding from this point (and on to eternity).

色情制片人Vinnie在拍摄他最新的硬核电影时忙得不可开交：竞争对手Garrick试图篡夺他制片厂负责人的地位，而无情且有理想的新星Hanna则利用勒索来获得主角。

色情制片人Vinnie在拍摄他最新的硬核电影时忙得不可开交：竞争对手Garrick试图篡夺他制片厂负责人的地位，而无情且有理想的新星Hanna则利用勒索来获得主角。