男人如海，远飏漂浪；女人是树，荫蔽家园。这是一则反溯家族记忆的私密创作，从最初两人的深情往复书简，顺此而成的生命诞造，以及其后伴怀自然、温柔照料的哺育子女。在女人温柔如巨树分枝的照料之下，孩子如鸟，学习飞翔，体会那苍穹万物。但在巨树倒下的一刻，雏鸟被迫变形成长，从此在漫长失亲的岁月里，想念至亲、凭悼失落的自己。 以印象派画风为骨干，佐以16mm 胶卷的有机颗粒影像，新锐导演瓦斯康丝勒借着家族物件、亲录原声，与戏剧式的重建演出，爬梳家族父执辈几尽失落的记忆。她邀请家人亲身参与演出，对应不同人声的旁白，以音划分离营造出想像空间，让全片在深刻幽微的生命沉思下，拥有轻盈的流动感，组成一出构图如画、探讨永恒的喧嚣疗愈之作。

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.

这是一部根据史蒂文·伯克夫（Steven Berkoff）改编自卡夫卡著名故事的电视电影。故事里，一个年轻男子一直是家庭唯一的经济支柱，然而某天早晨他醒来后竟变成了一只巨大的蜣螂。从此，他成了家人的负担，而他的家人也不得不学会依靠自己生活。

Several animated stories from "Metamorphoses," the Roman poet Ovid's narrative of legends, are presented.