《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.

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。

恐怖素材最后一部，真正的结局。

恐怖素材最后一部，真正的结局。

堂本刚（KinKi Kids）早期冠名个番，各种企划挑战，形象崩坏注意。1999年3月29日至同年9月27日由NTV放送，毎週月曜 23:37 - 24:12播出。出演者:堂本剛,加藤浩次,山本圭壱,宝生舞,古川小百合,垂木勉

该故事讲述了一个小男孩和意外成为了流浪汉的柠檬水摊主乔的 　　友谊。小男孩是乔唯一的朋友，可在小男孩受到当地小流氓的影 　　响后，他却成为了破坏乔的摊位的帮凶。

堂本刚（KinKi Kids）早期冠名个番，各种企划挑战，形象崩坏注意。1999年3月29日至同年9月27日由NTV放送，毎週月曜 23:37 - 24:12播出。出演者:堂本剛,加藤浩次,山本圭壱,宝生舞,古川小百合,垂木勉

江小迪与姐姐梅子相依为命，靠着姐姐在一个小餐馆打工的微薄收入生活。一天，小迪因为没有旱冰鞋被大胖嘲笑。梅子知道后答应小迪，只要他下次语文考试能考到90分以上就给他买旱冰鞋。之后，小迪开始努力的背诵古诗。语文测试那天，他第一个交上试卷走出教室。回家的路上，小迪路过姐姐打工的餐馆，正巧看见李老板侮辱梅子，小迪就冲进去为姐姐解围。李老板一怒之下开除了梅子。语文试卷发下来，小迪考了95分，但他为了不再让姐姐给自己买旱冰鞋，就没拿试卷回家。梅子却误会小迪是因为没考好才不肯拿出试卷。后来，班主任的到访，才让梅子明白了小迪的用心。 　　一台单反+一个架子 　　拍了5天只花800元 　　入围了华语青年影像展

讲述了把高句丽国家当做人生全部的平江公主与把爱情变成历史的温达将军的不屈服于命运的爱情故事。