光头强爸爸突然到访 狗熊岭，向来严厉古板的强爸却对 光头强嘘寒问暖，而朝夕相处却未能缓和关系，反而导致了父子矛盾的爆发……在一次激烈的争吵中，光头强和两熊被“缩小机”意外缩小，毫不知情的强爸伤心离开，并无意间带走了“缩小机”。于是， 光头强和两熊踏上了追赶 强爸和机器的“微观世界”冒险之旅。与此同时，一名陌生国外女记者突然出现，并频频出没于大马哈鱼生活的河域附近，举止神秘，牵出了一系列神秘事件。出品人： 刘道强、李晓萍、曾茂军、郑志昊、蔡伏青、程武、雷瑛、徐天福、刘荣、李晓东监制：林永长、易巧、蒋德富、康利、相贤古、高莉、陈刚、张群美术设计：王宇、刘晓蓓、陈嘉琳、陈瑞培、王林、罗森、邵丽莹、杨迪然、杨朔、易凌霄、敖进超、张琳、金宇、郭尚振、李弘毅、施明熙、王剑龙、杨敏、朱建鑫、罗浩振灯光：王冠维、谷芳、何宛珊、杨鹏、梁晓冬、徐梅、杨攀、谷强强、龚子寅、张韬、钟兴茂、杨潇、方丽、高凡、周利佳、姚瑞、杨帆、方敏、许腾远、杨紫薇出品公司： 华强方特（深圳）动漫有限公司、 霍尔果斯彩条屋影业有限公司影片由华强方特动漫联合光线彩条屋影业等诸多公司携手合作，这是华强方特动漫与彩条屋影业首次合作。在影片制作时，制作团队在延续前作奇幻喜剧风格的基础上，进一步了强化亲情部分的表达，希望能够使得观众在影片中寻找到共鸣和趣味性，并希望观众能够通过影片与家人增进感情。导演 丁亮认为，作为一部贺岁动画电影，不能够仅仅停留于合家欢的层面，而需要有深层次的内涵。因此， 丁亮在电影中融入了父子情的元素，通过电影呼吁中国的父亲们多抽出时间陪伴孩子成长。影片邀请了美国演员 贝丝·比厄加盟。影片中的生物学爱好者一角是利用“真人绘制虚拟角色”技术、根据 贝丝形象打造而成， 贝丝本人也参与了该角色的设计，并为海外版电影的该角色配音。影片加入了 光头强的父亲这一新角色，制作团队希望通过这一角色展现出父子间的情感，同时亦希望借此角色展现出父爱缺失、丧偶式教育等现实生活中存在的问题。

在这部电影中，光头强的父亲突然到访狗熊岭，与光头强的亲情感人至深，但两人的矛盾却越演越烈。一次争吵过后，光头强和熊兄弟被缩小机缩小。强爸毫无察觉地离开，反而带走了缩小机。为了恢复原状，光头强和熊兄弟踏上了寻找缩小机的冒险旅程。

光头强爸爸突然到访狗熊岭，向来严厉古板的强爸却对光头强嘘寒问暖，而朝夕相处却未能缓和关系，反而导致了父子矛盾的爆发……在一次激烈的争吵中，光头强和两熊被“缩小机”意外缩小，毫不知情的强爸伤心离开，并无意间带走了“缩小机”。于是，光头强和两熊踏上了追赶强爸和机器的“微观世界”冒险之旅。与此同时，一名陌生国外女记者突然出现，并频频出没于大马哈鱼生活的河域附近，举止神秘，牵出了一系列神秘事件……

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？