《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.

《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.

玻璃玩偶动画。制作玻璃艺术品的艺人受到窗外雨滴的启发，他仿佛看到舞者和一个不高兴的小丑在自己创作出的水晶王国中起舞。

玻璃玩偶动画。制作玻璃艺术品的艺人受到窗外雨滴的启发，他仿佛看到舞者和一个不高兴的小丑在自己创作出的水晶王国中起舞。

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。

表面看来，天海响（木户衣吹 配音）是一位温柔贤惠的平凡高中女生，可实际上，从很小的时候起，响便有着远远高于常人的灵力，时常能够看见他人肉眼看不见的灵体。可以这么说，响是在幽灵的陪伴下渐渐长大的。 　　忠诚的武士代返侍（川原庆久 配音）、孤单的花子（井泽美香子 配音）、神出鬼没的背后灵梅莉（松井惠理子 配音）、从里到外都是十足不良少女的辣妹灵（内田彩 配音），这些飘忽不定的幽灵们给响的生活带来了别样的色彩，却也替彩惹出了一大堆麻烦。井上成美（伊藤美来 配音）是响的同班同学，个性大大咧咧的她却独独害怕幽灵，坚定的认为世间不可能存在幽灵的成美，在遇见响之后，人生观开始产生了动摇。

有着灵感体质的女高中生天海响，身边总是聚集着很多的灵，它们和围在天海身边的愉快伙伴们一起演绎出有笑有泪的治愈系喜剧。

这一系列的影片，按照巴哈六部无伴奏大提琴组曲的顺序编列，第一部是跟女性的园艺设计大师茱莉摩尔梅瑟薇合作的「音乐花园」。波士顿市政府准备在市中心建造一座花园，但是设计的创意却要用巴哈的音乐来衍生灵感，并且聘请马友友担任顾问。他们为了追寻灵感，跑遍了波士顿与多伦多，我们看到他们相互激荡的全部过程，令人耳目一新。第二部是由「顾尔德的32个短篇」导演法杭梭杰厄德执导的「建筑的声音」。十八世纪的义大利建筑大师乔望尼所设计的城堡，竟然被一片片的拼凑成巨大的版画，透过电脑3D的虚拟动画，完美的呈现於我们眼前，而马友友也洒脱的与这「古老」的建筑合而为一。这部影片，获得了「最杰出特殊视觉效果」的艾美奖。

这一系列的影片，按照巴哈六部无伴奏大提琴组曲的顺序编列，第一部是跟女性的园艺设计大师茱莉摩尔梅瑟薇合作的「音乐花园」。波士顿市政府准备在市中心建造一座花园，但是设计的创意却要用巴哈的音乐来衍生灵感，并且聘请马友友担任顾问。他们为了追寻灵感，跑遍了波士顿与多伦多，我们看到他们相互激荡的全部过程，令人耳目一新。第二部是由「顾尔德的32个短篇」导演法杭梭杰厄德执导的「建筑的声音」。十八世纪的义大利建筑大师乔望尼所设计的城堡，竟然被一片片的拼凑成巨大的版画，透过电脑3D的虚拟动画，完美的呈现於我们眼前，而马友友也洒脱的与这「古老」的建筑合而为一。这部影片，获得了「最杰出特殊视觉效果」的艾美奖。