美国纽约街头，一如既往平凡喧闹的一天。在一处空地旁，垃圾桶前堆着人们丢掉的废弃物。这时，一名男子搬来一台过时的彩电放在废物旁边，随后起身离去。他刚走开不久，电视便自动运行起来，屏上显示出一枚象素炸弹。炸弹爆炸，屏幕裂开，一头全部由五颜六色彩色像素组成的怪物腾空飞起。它越飞越高，身形不断变幻。它滴落的像素子弹打到出租车上，令汽车变成一堆方块。在此之后，小蜜蜂、吃豆子、大金刚、俄罗斯方块等红白机时代风靡一时的游戏形象充斥大街小巷，肆无忌惮地蚕食、摧毁、像素化这座现代化大都市。地球面临前所未有的大危机。 　　2011年法国昂西动画节短片大奖得主。

2007年昂西动画节开幕短片。

本动画由狂丸娱乐出品。本片采用8-bit像素游戏的画面与音乐，还原了经典香港电影《大话西游》，用另一种方式诠释了“爱你一万年”“OnlyYou”等经典桥段。

本动画由狂丸娱乐出品。本片采用8-bit像素游戏的画面与音乐，还原了经典香港电影《大话西游》，用另一种方式诠释了“爱你一万年”“OnlyYou”等经典桥段。

1982年，在建立与外星生命和平交流的希望下，美国宇航局向太空发射了一枚时空胶囊，其中有地球生命文化的写照以传递和平信息。不幸的是，外星人误把街机…

作为1980年代的小孩，山姆·布伦纳（ 亚当·桑德勒 饰）, 威尔·库珀（ 凯文·詹姆斯 饰），勒德洛·莱门梢夫（ 乔什·加德 饰）和“火焰爆破枪”埃迪·普兰特（ 彼特·丁克拉奇 饰）拯救过世界成千上万次——在游戏机室里二十五美分玩一次的游戏里。现在，他们必须得真刀真枪作战了。在像素大战中，当外星人发现经典街机游戏视频流并且误以为这是在宣战后，他们袭击了地球，运用游戏作为他们袭击策略——而现在美国总统库珀必须召集他旧日的街机战友一起拯救世界免受吃豆人、大金刚、小蜜蜂、蜈蚣还有太空入侵者毁灭。加入他们一起战斗的，还有一名向街机斗士提供外星人战斗专用武器的专家，维奥莱特·冯·帕顿中校（ 米歇尔·莫娜汉 饰）。他们的唯一目标是，战胜8比特像素外星人，保卫地球。

《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.

A, hatched from the egg becomes a new man after being assembled. A is aware that he is incomplete. He tries to reborn as a perfect man. However, he meets B who is the same kind as A and gets killed by B.

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。