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大志在电玩店中工作，胸无大志的他只希望日子得过且过，身无长技唯独打电玩厉害的他，也只能在比他年幼得多的孩子们之中耍耍威风。阿美是大志的女友，虽然大志对待两人之间的感情一直敷敷衍衍，但忠贞贤惠的阿美依旧温柔的包容着他的任性。 某日，阿美在无意之中得知了大志在外沾花惹草的“光荣事迹”，心痛的她再也无法忍耐，决心彻底离开他。与此同时，大志在偶然中勾搭上了黑帮大佬的女人，因此而引来了杀身之祸。接踵而至的危险和麻烦让大志开始明白，究竟什么才是生命中值得珍惜的东西，然而，他还有机会再次挽回阿美早已经破碎的心吗？。浮躁的动物学家提姆总是梦想证明雪人—也就是喜马拉雅雪人—的存在。动物园新的投资商认为他们可以把提姆的热情转化为利润，于是就把他派到西藏。在那他真的捕获了一个雪人。尽管他想隐藏这个生灵的秘密，特别是不让那些没有道德的投资商知道，但是他可瞒不了他的小女儿查理多久。 她和被捕的雪人成了朋友。她知道了它还只是个孩子，它非常想家，如果回不了家它就有死亡的危险。对雪人同样感兴趣的还有相貌出众的年轻记者克里斯廷。她缠着提姆让她见雪人。她的固执一点用也没起，于是她改用诱惑的方法。但是她却落入了自己的陷阱，因为她爱上了古怪的提姆。 查理说服克里斯廷和她的爸爸把雪人送回它爱的人身边。但是他们的计划差点就失败了，因为它挣开了笼子逃跑了。他们必须在唯利是图的投资商抓到它前先抓到它，因为他们最想做的事就是把它送回西藏。。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.。