《波塞冬的惩罚》夜幕下的东京湾，一艘豪华游艇上发生杀人事件。某公司社长工藤被人用冰锥残忍杀害，嫌疑人就在同行的三名公司员工中间。搜查一课的母神刑警（财前直见 饰）耐心寻找蛛丝马迹。 　　《理科妹侦探的解谜实验室》IPS细胞研究科学家鹰野隆三不久前突然去世，因其身后有一亿日元的保险，所以保险调查员诚彦（滨野谦太 饰）怀疑死者的妻子美铃有重大嫌疑，为此他求助于美女老婆久里子（上野树里 饰）的帮忙。 　　《冬、来了》生驹家的老太太去世，三姐妹春（木村绿子 饰）、智秋（檀丽 饰）、夏依（渡边真起子 饰）凑在一起追怀往昔，想起了当年父亲带来的牺牲战友的儿子冬留。当晚冬留突然前来祭拜，然而这确实本该在童年死去的人。

《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.

Ian Parker发表在《纽约客》上的文章《悬疑小说家的众多谎言 A Suspense Novelist’s Trail of Deceptions》将被改编为电视剧，Jake Gyllenhaal主演。 　　这篇文章探索了前图书编辑Dan Mallory的复杂生活。 　　Dan Mallory的处女作《窗里的女人 The Woman in the Window》被改编为同名电影，Amy Adams主演。这部电影制作期间，小说被指出存在各种抄袭，而他本人更是被曝光谎话连篇，以及通过假装患上脑癌、亲人去世来博取同情。

汉娜的顾客兼德洛丽丝的剧院对手被谋杀后，汉娜必须找到凶手，以挽救母亲的名誉。查德和汉娜的爱情之花由此绽放。

Ian Parker发表在《纽约客》上的文章《悬疑小说家的众多谎言 A Suspense Novelist’s Trail of Deceptions》将被改编为电视剧，Jake Gyllenhaal主演。 这篇文章探索了前图书编辑Dan Mallory的复杂生活。 Dan Mallory的处女作《窗里的女人 The Woman in the Window》被改编为同名电影，Amy Adams主演。这部电影制作期间，小说被指出存在各种抄袭，而他本人更是被曝光谎话连篇，以及通过假装患上脑癌、亲人去世来博取同情。

2016年4月19日，副警长利奥·科尔失踪。第二天早上，他的执法记录仪被发现了。

2016年4月19日，副警长利奥·科尔失踪。第二天早上，他的执法记录仪被发现了。

Leo is a successful author of mystery novels, who writes under a pseudonym. While penning his next book in an isolated chalet, he receives a strange visit from Jota, a somewhat troubling character, who claims to be a journalist.

Leo is a successful author of mystery novels, who writes under a pseudonym. While penning his next book in an isolated chalet, he receives a strange visit from Jota, a somewhat troubling character, who claims to be a journalist.

这部Erskine和McCullough合作的首部作品是恐怖片，用灵活的手法交织出了一个发生在城市中的神秘故事 - 　　从偷肾到外星人劫持，然后到操纵药品公司；这里是偏执狂的天堂。与令人回忆的《天梯》(Jacob's Ladder)和比较阴暗的《死亡幻觉》(Donnie 　　Darko)一样，故事结构依然保持了这一风格，仿佛魔方一样，把观众带向令人满足，又峰回路转达到故事的高潮... 　　故事情节险恶，令人惊奇和震惊。影片刻划了一个令人怜爱的无助的英雄角色，EMR是一部令人精神一震的英国惊悚电影，它会令你在下次吃阿斯匹林时，再好好想一想。