介绍：　　理查德是一个杞人忧天的天文狂热爱好者，他几乎把时间花在幻想外太空上，这引起了其朋友和家人的反感。　　一天，刚与男友沃恩分手的他在图书馆遇到了一个叫约翰尼的意大利男人。被家庭放逐的约翰尼对生活有着盛大的幻想，而这其中恰恰包含了邂逅不久的理查德。毋庸置疑，陷入热恋的约翰尼用爱让理查德从单调的工作抽离开来……　　这是一场两个怪人之间的爱情狂欢曲，彼此相拥的他们将目光都牢牢锁向远处的浩瀚星空。作为新西兰同性性行为非刑事化仅3年后的酷儿作品，以直白浪漫为特色的《引力以外》不仅获得了当地戏剧放映奖，还在法国获得了编剧奖。　　这部16毫米的喜剧短片一定意义上称得上时代特写，真实拍摄下了1988年前后奥克兰市中心的大量镜头（由导演加思·麦克斯韦自己在皇后街市中心的挖掘提供）。

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介绍：　　Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001: A Space Odyssey.　　In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.　　The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.