《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.

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。

电影的故事背景设置在日本强占时期1932年的首尔，日本美术留学归来的本雄（金秀哲饰）在归国展示会当中结识了青年诗人李箱（金甲洙饰），对他非常欣赏，此后便开始提携照顾李箱，为他作出很多牺牲并且放弃了自己的爱情。患有慢性结核的李箱来到本雄为他提供的疗养处养病，在这里他结识了妓生锦红（李知恩饰）并且渐渐不能自拔，过着放纵的生活。尽管锦红神奇的魅力让本雄也深深着迷，但是在李箱和金红之间他根本无法作出选择。之后因为诗歌“乌瞰图”的缘故，李箱遇到了文学创作上的危机，而同时红也和他剧烈争执后分开。为了帮助日益消沉的朋友，本雄前去寻找锦红，但是她却不肯回来。最终从未忘记过锦红的本雄带着死去李箱的遗物再次寻找锦红……

特务机构雪衣卫首领风作人奉嘉帝之命，潜入定远侯府寻找前朝太子，意图斩草除根。然而在这个过程中，凤作人却发现嘉帝的背后有人正在布局更大的阴谋……

景明十二年秋，北镇抚司锦衣卫指挥使路斩奉命调查赈灾银失窃案，在霞凤楼设伏抓捕要犯。杂役黄玉为赚取跑腿费误入案发现场，凭借过人机敏与路斩周旋，最终协助擒获嫌犯王莽。审讯中黄玉全盘托出与头牌张楚楚的接触，路斩在楚楚房内发现神秘月牙石。黄玉虽被释放却遭暗中监视，为生计接取抬棺活计时卷入离奇"鬼新娘案"，送葬队伍全员丧命唯有她幸存，被赶到的刑部侍郎沈判以重大嫌疑押入大牢。

前世，她是贤名在外的侯府主母沈若云，却在下着红雨的夜晚，被夫君与穿越女苏莲儿逼死，家族覆灭。重生归来，她回到那个宿命的开端——苏莲儿刚被夫君以“救命恩人”之名带回府中。这一世，沈若云收起了委屈与贤良。她笑着将“妹妹”安置在最阴冷的院落，以佛法清修为名，筑起无形高墙。当苏莲儿再次高喊“人人平等”、用现代观念肆意冲击侯府秩序时，沈若云不再争辩对错。她以世代积累的礼教为刃，以人心与权谋为盾，在精致的宅院战里，从容布下一局真正的生死棋。这是一场跨越时空的观念对决，更是一个传统女性在绝境中，为自己与家族杀出的重生之路。当红雨再临，掌局者，已悄然易主。