In Nerven, writer-director-producer Robert Reinert tried to capture the "nervous epidemic" caused by war and misery which "drives people mad". This unique portrait of the life in 1919 Germany, filmed on location in Munich, describes the cases of different people from all levels of society: Factory owner Roloff who looses his mind in view of catastrophies and social disturbances, teacher John who is the hero of the masses and Marja who turns into a radical revolutionary. Using different fragments the Munich Film Museum could reconstruct this forgotten German classic which is a historic document and anticipates already elements of the Expressionist cinema of the 1920s. Having a more complete version of Nerven available is a wonderful contribution to our understanding of film history. The standard version was known to very few students of cinema, and though it was impressive, it was somewhat incoherent. We are still lacking a lot of footage, but Stefan Droessler and his team have added what they could and arranged the sequences into a more intelligible order. The quality of the restoration, moreover, makes the film's visual style even more vivid and unsettling. Released shortly before The Cabinet of Dr. Caligari, Nerven ought to have entered the Expressionist canon. Its themes echo the movement's post-Romantic attack on capitalism and the modern conception of the anguished soul. Its narrative plays out the implications of such icons of Expressionist art as convulsive crowds and men's homicidal urges toward women. Just as important, the film's pictorial design finds an original way to convey the tale's emotional tenor, the sense of nervous anxiety strung ever tighter. Significantly, Reinert achieves a unique look without recourse to the painted sets of Caligari, but through a unique use of other cinematic resources. http://img186.imageshack.us/img186/196/nerven01jo3.jpg http://img360.imageshack.us/img360/3403/nerven04en0.jpg http://img117.imageshack.us/img117/8886/nerven06ts0.jpg http://img238.imageshack.us/img238/7650/nerven07rf9.jpg http://img523.imageshack.us/img523/2677/nerven09nk7.jpg

赵曼曼车祸失忆后，在地下室醒来，身边有个小哑巴女儿小婉，还有自称是她丈夫的秦欢。秦欢告诉她，她肇事撞死人，自己是为保护她才将她藏起来。相处中，秦欢对她关怀备至，赵曼曼渐渐放下戒心。直到一个叫刘伟的男人找上门，准确说出她私密处的红痣，坚称自己才是她真正的丈夫。两人激烈对峙，赵曼曼惊恐发现，他们的话全都疑点重重，无人可信。

实习生们所在的云顶康乐园，是一座民办精神疗养医院，几人在医院实习的过程中，渐渐融入医院，了解到精神疾病患者的内心，也慢慢发现医院居然埋藏着的巨大的危机，背后有着说不清的利害关系，这群年轻人该怎么办？何去何从？

《神经豆》讲述了一颗豆子“修道成仙”的故事。在神经与神仙只有一念之差的“豆界”里，一颗本可以得道成仙的豆子被世俗之豆当成了神经病，关进了精神豆院治疗，于是便成为了一颗不折不扣的神经豆。在这个众豆皆疯的精神豆院里，“老顽童”神经豆不忘初心坚持修道，但在院长和护士看来，神经豆只不过是神经病的典范。在院方“治疗”与神经豆“弃疗”的斗争中，短片上演了一幕幕啼笑皆非、神经兮兮的故事。

在孤儿院长大的四兄妹甄东风甄铁笼甄雪甄桂，在孤儿院院长去世后流落街头相依为命。偶然一次触电后四人发现自己的身体竟然悄悄的发生了变化。恰巧甄桂过生日，哥哥姐姐们为了最疼爱的小妹妹来到了一个废弃的停车场为甄桂过生日。谁成想在放烟花的时候竟然将一辆摩托车引燃，不料被保安大爷给发现了。情急之下四人出现不同的状态。甄桂竟然成为了大力士，怂蛋一样的甄铁龙竟然突然隐身，没想到二人怪异的行为竟然将保安大爷吓得不轻。保安大爷惊慌而逃，四人在后追逐没先到竟然遇到车祸。爱慕铁龙的宾馆服务员酷爱直播，无意中将四兄妹偷偷摸摸的行为误认为是闹鬼，并叫来媒体大肆宣传。最终，是大爷救赎了四个孩子还是四个孩子救赎了大爷？

《神经豆》讲述了一个关于一颗豆子“修道成仙”之路的故事。在神经与神仙只有一念之差的“豆界”里，一颗本可以得道成仙的豆子被世俗之人当成了神经病，关进了神经病院治疗，于是便成为了一颗不折不扣的神经豆。在这个众豆皆疯的神经病院里，“老顽童”神经豆不忘初心坚持修道，但在院长和护士看来，神经豆只不过是神经病的典范。在院方“治疗”与神经豆“弃疗”的斗争中，短片上演了一幕幕啼笑皆非、神经兮兮的故事。

在制作这部纪录片的过程中，我一直想用亚历山大格罗滕迪克的一句话——“我们每个人都有机会去重新发现‘发现’究竟意味着什么”——作为片头的引言，不过最终还是放弃了。因为我并不觉得自己已经明白了这句话的确切含义，只是一直渴望去理解“它”。

暂无剧情简介

Barbara Hammer used filmic techniques associated with the baring of the apparatus towards materializing an embodied empathy. Hammer had to place her grandmother Anna – losing her sight and with a deteriorating illness – in a nursing home. Optic Nerve’s images, manipulated by optical step printing, repetition, and re-photography, dilate, arrest, and filter the moments Hammer spent with her grandmother in the rooms and halls of the care home, suffused by the tensions of memory and opacity, re-collection and disintegration. Making palpable their intersubjective bond, Hammer layers perceptual, corporeal, and psychic strata, conjuring her grandmother’s sensate experience and fading sight through a prismatic materiality.