在这部人偶的诞生剧情片中,阿莫斯·吉泰在这部实验电影中有意模糊了故事情节，将读者叙述、都市风景和荒凉的景色混合于创造的场景中。影片想象了人偶——16世纪希伯来传说中有生命的假人的诞生过程，并将其置放于沙漠和莫斯科的具体环境中，在这过程中又交叉着14世纪托斯卡纳艺术家创造音乐风塔、电影导演拍摄场景及耶利米书的片段。从某种意义而言，这部电影也意味着一个人偶的诞生。
With the feel of experimental film, Gitai mixes storytelling, readers' theater, cityscapes (usually seen from moving trains), and desolate landscapes to mediate on the act of creation. What if a golem were fashioned out of dirt, much like Adam, and came to life? The film imagines it, in the desert and in Moscow. Interspersed are stories of a 14th-century Tuscan artist's creation of a tower that plays music when the wind blows, of a film director, and of Jeremiah and Sirat. In what ways is making a movie like creating a golem?
