一位画家正在对着一位老者（浮士德）作画，可是画出来的确是一位少年。随着画家不停地摆动画笔，画中的少年也不断地变换着衣着和姿态。突然，少年活了并走出画布，走到了另一幅画里，马奈的《草地上的午餐》。整部作品充满了笔触的流动感，其变换也十分奇特，海浪变成麦浪，飞鸟变成波涛，游动的水鸟变成窗帘上的图案等等，就这样，观众跟随着画中的少年一步步向前走着。最后，少年穿过维米尔、马尔凯、马蒂斯、籍里柯、霍珀等画家的作品进入到西班牙画家委拉斯贵支的名画《宫娥》中，故事结束。其实这部作品隐喻的是歌德的作品《浮士德》：画家是魔鬼梅菲斯特，少年是返老还童的浮士德，少女是玛格丽特。

一位画家正在对着一位老者（浮士德）作画，可是画出来的确是一位少年。随着画家不停地摆动画笔，画中的少年也不断地变换着衣着和姿态。突然，少年活了并走出画布，走到了另一幅画里，马奈的《草地上的午餐》。整部作品充满了笔触的流动感，其变换也十分奇特，海浪变成麦浪，飞鸟变成波涛，游动的水鸟变成窗帘上的图案等等，就这样，观众跟随着画中的少年一步步向前走着。最后，少年穿过维米尔、马尔凯、马蒂斯、籍里柯、霍珀等画家的作品进入到西班牙画家委拉斯贵支的名画《宫娥》中，故事结束。其实这部作品隐喻的是歌德的作品《浮士德》：画家是魔鬼梅菲斯特，少年是返老还童的浮士德，少女是玛格丽特。

The documentary follows renown artist Cai Guo-Qiang through the production of new work for the Museo del Prado.

The documentary follows renown artist Cai Guo-Qiang through the production of new work for the Museo del Prado.

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

"The Theme" is a film that had to stay on the shelf for almost ten years because of its "theme". Mikhail Ulyanov plays Kim Yesenin, a disillusioned and cynical playwright who uses the system by writing the conformist plays and enjoys the benefits of being the officially recognized and appointed "great Soviet writer" but who in reality has been used by a system and spent all the talent he ever had in writing the plays that had no artistic value whatsoever. Bitter irony lies in the name of the character: Sergei Yesenin was a real life enormously talented, widely popular and beloved Russian poet who committed suicide at the age of 30 in 1925 because he could not fit in the Soviet Russia. Kim Yesenin in the movie suffers the writing block and arrives to the small provincial town with a friend and a young mistress in search of inspiration. He meets an attractive, intelligent and well educated museum guide named Sasha (Inna Churikova never looked so beautiful and sophisticated and I finally understood why Panfilov always had been fascinated by her face, never conventionally pretty) who used to be a big fan of his earlier works but has a lot of unflattering things to say about his officially praised outings. Sasha is in love with a talented historian who had made a very difficult and life changing decision to emigrate from the Soviet Union. He had lost his job by becoming a dissident and had to work as a gravedigger to support himself while waiting for permission to leave the country. Those who never had to emigrate from their country knowing that they might leave forever and never be allowed to go back to see their loved ones and the places dear to their heart again would not fully understand why Panfilov's film had to stay on the shelf for almost ten year after it was completed. It was released only during the "perestroika" in 1987 and I saw it then. I respect Panfilov for his siding with the real artists rejected by the system but his film is not only a courageous statement against the conformity suffocating cultural life under the Brezhnev regime which would be later called "period zastoya" or "stagnation", it is a memorable work of cinema with very good performances from his muse, Inna Churikova, Mikhail Ulyanov, and supporting cast.

《画的灵魂》讲述了一个落魄的仿画画家范高，迫于生计参加了绘画人工智能的学习样本计划，成为了绘画人工智能的学习对象。在范高作画的时候，名为“AI”人工智能觉醒，与范高进行对话，“AI”将范高拖入意识空间，在那里，范高看到了过去、现在和未来，范高触及到了画的灵魂。

《画的灵魂》讲述了一个落魄的仿画画家范高，迫于生计参加了绘画人工智能的学习样本计划，成为了绘画人工智能的学习对象。在范高作画的时候，名为“AI”人工智能觉醒，与范高进行对话，“AI”将范高拖入意识空间，在那里，范高看到了过去、现在和未来，范高触及到了画的灵魂。

一名神秘的教师来到了一座外省小镇的学校教书。但这名老师并没有老师的样子，他对事物的看法过于现代和自负。但整座小镇都很喜欢他，喜欢到超乎他的想象。

一名神秘的教师来到了一座外省小镇的学校教书。但这名老师并没有老师的样子，他对事物的看法过于现代和自负。但整座小镇都很喜欢他，喜欢到超乎他的想象。