2014年，天津卫视《非你莫属之老板变形记》开创了真人秀与商界公益相结合的全新模式。该节目把《非你莫属》的明星老板“空投”到湘西凤凰县凉灯村，老板们既要体验当地村民生活，体验结束后还需提出解决贫困问题的方案。2015年5月16日，天津卫视公益改造节目《老板变形记》第二季重磅回归，《非你莫属》的明星BOSS史晓燕、沈东军、杜子建、陈昊、申磊等7位老板前往云南哈尼族聚居地，再次开启公益扶贫之旅。

喜剧演员、新晋房主亚当·尼伯格（Adam Niebergall）一心想要单枪匹马地对汉密尔顿（Hamilton）进行高档化改造，哪怕这会让所有人都讨厌他。

A 15 year old boy with the ability to produce machines from his body via nanites is enlisted by the government to stop other creatures created by the same science.

題材都是現成的，一個是Mordecai Richler的成名作，一個是弗兰茨.卡夫卡的同名小說改編。Caroline Leaf在玻璃上灑上海灘沙作畫，每一個畫面拍攝兩個frames後進行修改，再拍攝下一個畫面。這種作畫方式的特點是不能夠修改錯誤，如果犯了錯誤，別無選擇只能夠跟它繼續相處。毀掉重畫是不可能的。所以這種作畫方式的本質很像是自由寫作（free writing），作者讓筆自己把意念傳遞到紙上，如果出了錯誤就順其自然。也就是說，要有一點禪意。雖然說是作畫方式的要求，但隱約在畫風裡也可以讀到一點。

When Europe skips class to climb aboard an eight-wheel truck with a magnetic young man named Jupiter, little does she know of the journey of initiation that lies ahead of her. "As a child, I experienced the pleasure of fiction thanks to my elder brother who would read Ovid's Metamorphoses to me in secret. I can still see us in that room we shared, him sitting cross-legged with the hefty volume on his lap, holding on to it for dear life with both hands for fear it might slip, while I took charge of the lighting, focusing on the pages the yellow beam of a flash lamp whose battery would inevitably die. [...] After eight feature films, I felt that the time had come to reimmerse myself in the vivid, timeless writing of Ovid. At a time in which the very mention of Greece immediately conjures up 'Greek debt', I felt it was urgent to remind ourselves of 'Greek heritage'." [Christophe Honoré]

纽约，皇后区。14岁的米罗和这个城市格格不入。无父无母的他在学校被同学欺凌，唯一的藏身之地是与哥哥一起居住的家。为了逃离现实的孤独，他忘我地沉浸在吸血鬼的世界中。米罗有着不为人知的一面，新邻居索菲的出现让他对生活有了新的感悟。但是，足以让他消灭他阴暗的欲望吗？

星期一，男主人公在办公室被一只讨厌的苍蝇所烦扰，他尝试再三，终于将苍蝇拍死。这时电话铃声接连写起，里面没有说话的声音，只有削铅笔、写字和擦除笔记的声音。男人大多数都能心领神会，他按照指示完成工作，即便有时会有不同的意见，也完全不被对方所理会。对电话另一头的人来说，男人只不过是一个按照指令办事的工具，决不允许有自己的想法，稍有差错便可招至严厉的处罚。 对自由的向往，男人也许和那只被打死的苍蝇没有什么两样。而他们就像永远推石头上山却永远无法完成工作的西西弗斯一样，悲剧的宿命无有止境……

Jan Němec's original proposal in 1966 to adapt Kafka's Metamorphosis as a theatrical feature was rejected by the Czech state film board. In 1974, he was forced into exile -- first seeking refuge in Germany: CER: What impact did emigration from Czechoslovakia have on you personally and professionally? JN: I have never emigrated. I was an exile. There is a very big difference. An emigrant is somebody who decides to leave the country, while an exile is chased away, like J A Komenský. In 1974, they wanted to put me in prison, but they gave me a choice, as with Milan Kundera. We were told that the criminal prosecution would be canceled if we applied for a legal departure motivated not by political protest but by a working contract. I took this offer and left the country legally, so I had a Czech passport for another two years. But it was not like traveling. I couldn't come back. If I had, they would have seized my passport and began the criminal prosecution all over again, and I would be in prison. After two years they stripped me of my citizenship. So I have never emigrated and I have never applied for political asylum. I was "stateless," with no citizenship or no legal papers.

格里高利·萨姆沙（Grégoire Samsa）是家里唯一的收入来源，这位旅行推销员某天醒来，莫名变成了一只巨大的昆虫。为了不打扰亲人，他整日将自己关在房间里。渐渐地，家人对他的同情转变为夹杂着厌恶的嫌弃……这是F氏经典作品的唯一电影改编版本。

TV film of Steven Berkoff's stage adaption of Kafka's famous story in which a young man who is the sole financial supporter of his family until he awakes one morning in the form of a giant dung beetle and thereby becoming a nuisance to his family, who must now learn to rely upon themselves.