One of the first recorded images of a giraffe appeared in the drawings of the ancient Egyptians, who named it ‘sr’. In the 1990s, veterinarian Motke Levinson purchased four giraffes on behalf of two zoos. Upon their arrival in the same container to a port in the Red Sea, they were divided. Two were sent to an Israeli zoo while the others were sent to a Palestinian zoo. Living outside their natural habitat, their survival became an uphill battle at the zoos, and within years, they perished. This is just one of many stories that director Lea Harlaub ponders on. From the wall paintings of ancient Egyptians to exotic animal exports and modern-day safari tourism, this essay film takes us on a hypnotic journey to weave together the history of this majestic animal with the history of humanity.

One of the first recorded images of a giraffe appeared in the drawings of the ancient Egyptians, who named it ‘sr’. In the 1990s, veterinarian Motke Levinson purchased four giraffes on behalf of two zoos. Upon their arrival in the same container to a port in the Red Sea, they were divided. Two were sent to an Israeli zoo while the others were sent to a Palestinian zoo. Living outside their natural habitat, their survival became an uphill battle at the zoos, and within years, they perished. This is just one of many stories that director Lea Harlaub ponders on. From the wall paintings of ancient Egyptians to exotic animal exports and modern-day safari tourism, this essay film takes us on a hypnotic journey to weave together the history of this majestic animal with the history of humanity.

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

四位大师级导演合拍片，关于葡萄牙北部文化重镇吉马良斯的四个故事。佩德罗·科斯塔《甜蜜的招魂术》，曼努埃尔·德·奥里维拉《大都市的征服者》维克托·艾里斯《玻璃游戏》，阿基·考里斯马基《吉马良斯》

四位大师级导演合拍片，关于葡萄牙北部文化重镇吉马良斯的四个故事。佩德罗·科斯塔《甜蜜的招魂术》，曼努埃尔·德·奥里维拉《大都市的征服者》维克托·艾里斯《玻璃游戏》，阿基·考里斯马基《吉马良斯》

イシュ・パテルの「死後の世界」に刺激を受け、プリニウスの「博物誌」に想を得て、中世ヨーロッパの虚実入り乱れた生物を透過光台の上で粘土で絵を描いては変形させていった作品。

博物馆被视为城市的象征，其收藏展示着各民族的文化身份。这些世界知名的博物馆不断地适应社会变迁。每一年，成千上万的参观者排着长队，为了一睹悬挂于展廊墙上的珍宝。在这部八集的系列纪录片中，我们将与这些宛如生命体般的博物馆相遇，它们有诸多的故事亦面临着诸多挑战。与艺术家及艺术爱好者薇薇安·魏斯伍德、玛莉娜·阿布拉莫维奇、奥拉维尔·埃利亚松、沃尔夫冈·乔普一起，观众将欣赏到一部分世界上最有感染力的大师作品，并感受这些博物馆是如何的生机勃勃。

博物馆被视为城市的象征，其收藏展示着各民族的文化身份。这些世界知名的博物馆不断地适应社会变迁。每一年，成千上万的参观者排着长队，为了一睹悬挂于展廊墙上的珍宝。在这部八集的系列纪录片中，我们将与这些宛如生命体般的博物馆相遇，它们有诸多的故事亦面临着诸多挑战。与艺术家及艺术爱好者薇薇安·魏斯伍德、玛莉娜·阿布拉莫维奇、奥拉维尔·埃利亚松、沃尔夫冈·乔普一起，观众将欣赏到一部分世界上最有感染力的大师作品，并感受这些博物馆是如何的生机勃勃。

1968, midnight. The Argentine artist Leandro Katz attends a performance by the Theatre of The Ridiculous in a New York pornographic cinema. The actors, exuberant, perform in drag, undress, and recite texts that blend high literature with queer slang. Fascinated by the experience, Katz decides to join the company as a collaborator. Between 1970 and 1976, he takes photographs, assists with lighting, and creates experimental works on film. However, he eventually leaves the company when the experience becomes too intense and his artistic work takes a different direction. Today, from his dimly lit apartment in Buenos Aires, Katz revisits his materials: images of the deceased, photographic records, slides, negatives, and works on film and video. He discovers an unfinished film believed to be lost. As the conversation and testimony unfold, attempting to approach those years, the specters of the past seep through.