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自然世界充满了我们习以为常的颜色。在这个令人惊叹的新系列中，大卫·爱登堡将穿越哥斯达黎加的热带雨林，跋涉白雪皑皑的苏格兰高地，探秘动物对色彩的非凡运用。孔雀为求偶进化出了华丽的尾羽，而箭毒蛙明亮的警告色意味着致命剧毒，孟加拉虎的橙黑条纹则以一种巧妙的方式帮助它悄无声息地接近猎物。 大卫·爱登堡爵士一生痴迷于自然界的色彩。20世纪50年代，他第一次产生了讲述色彩故事的想法，但由于当时的电视只有黑白技术，最后拍摄了一档名为《动物世界的图案》的系列节目。65年后，他终于得偿所愿。专门为这个系列开发的新的摄影技术带我们看见肉眼难以观察到的颜色。从蝴蝶翅膀上的紫外线信号，到雀鲷脸上相间的条纹，再到雀尾螳螂虾奇特的偏振光视觉，从动物的眼中看世界，发现未知的精彩。。Herbert Vesely was one of the promises for a new German cinema already in the 50's, but after the 60's his star was already dimmed. He made a small number of films in the 70's and 80's, all non too good. This biography of Egon Schiele, one of the most important Austrian artists, is an example of the pretensions and emptiness of a Vesely-film of later date. The life of Schiele is presented here as a puzzle| well, Vesely thinks that Schiele's life was a puzzle: the core of the story is centered around the famous 1912 pornography trial and using this as base the film shows fragments of past and future. The problem is that it never becomes a unity and that the order of scenes and sequences seems to be at random: a cut-and-paste job that could have had any other result. Indeed, after seeing it twice I am almost convinced of it that a unsatisfactory linear thought-out film was changed into the puzzle in the editing room. Egon Schiele was an enigmatic man, but not a total puzzle, and this film does not bring him any closer. The films also fails in conveying the eroticism and meaning of the Schiele's paintings: the camera watches and glides over the models without any understanding of Schiele's intentions, we only see beautiful naked bodies. If interested in Schiele, you better buy a book with his works in stead.。