在未来的 “星环市”，杰杰和麦琪是一对性格迥异的发小。一次意外他们发现了两座沉睡的远古机甲与此同时，邪恶的 “暗影财团” 正疯狂搜寻机甲，企图利用其力量控制城市。为了守护家园，杰杰和麦琪成为机甲的驾驶员，开启了一段惊心动魄的冒险。他们在一次次战斗中磨合默契，解锁机甲的隐藏形态，不仅要对抗暗影财团的机械军团，还要解开机甲与星环市的古老秘密。过程中，友情与信任经受考验，两个少年在热血战斗中快速成长，最终从普通人蜕变为守护城市的英雄。

在被迷雾笼罩的 “星坠大陆” 上，藏着能实现任何愿望的 “极光秘宝”—— 这个传说让无数冒险者葬身于会移动的森林、会哭泣的峡谷和由云朵构成的迷宫。而来自科技之城的机械少年杰杰，和能与植物对话的乌龟麦琪，却在一次意外的时空碰撞中被抛进了这片奇幻之地。​杰杰手腕上的齿轮腕表能拆解重组任何机械装置，却对大陆上会呼吸的岩石束手无策；麦琪能听懂花瓣的低语，却读不懂杰杰藏在齿轮转动声里的孤独。当会说话的铁皮乌鸦叼来半张藏宝图时，这对性格迥异的少年不得不组成临时搭档：杰杰用精密计算破解古老机关，麦琪靠藤蔓指引避开致命陷阱，他们在悬浮的水晶宫殿里与镜像怪兽捉迷藏，在地下熔岩河上用蒸汽船与海盗兔展开追逐战。

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.

星期一，男主人公在办公室被一只讨厌的苍蝇所烦扰，他尝试再三，终于将苍蝇拍死。这时电话铃声接连写起，里面没有说话的声音，只有削铅笔、写字和擦除笔记的声音。男人大多数都能心领神会，他按照指示完成工作，即便有时会有不同的意见，也完全不被对方所理会。对电话另一头的人来说，男人只不过是一个按照指令办事的工具，决不允许有自己的想法，稍有差错便可招至严厉的处罚。 　　对自由的向往，男人也许和那只被打死的苍蝇没有什么两样。而他们就像永远推石头上山却永远无法完成工作的西西弗斯一样，悲剧的宿命无有止境……

纽约，皇后区。14岁的米罗和这个城市格格不入。无父无母的他在学校被同学欺凌，唯一的藏身之地是与哥哥一起居住的家。为了逃离现实的孤独，他忘我地沉浸在吸血鬼的世界中。米罗有着不为人知的一面，新邻居索菲的出现让他对生活有了新的感悟。但是，足以让他消灭他阴暗的欲望吗？

Adam was raise like a normal boy until he bled his first menstrual period. Adam was born with two genitals, an intersex who finds himself in a painful transformation that takes him into the ambiguities of fate and desires.