这是一档介绍住在中国的外国人和住在日本的中国人的旅行式纪录片。由主持人阿部力或者导演竹内亮，带着观众们去拜访住在各地的主人公，了解他们的生活，找寻他们选择住在这里的理由。
"Once upon a time, before people came along, all the creatures were free and able to be with one another", narrates the voiceover. "All the animals danced together and were immeasurably happy. There was only one who wasn't invited to the celebration - the frog. In his rage about the injustice, he committed suicide." Something Romani and frogs have in common is that they will never be unseen, or stay unnoticed. In her film, young director Leonor Teles weaves the life circumstance of Romani in Portugal today with the recollections of a yesterday. Anything but a passive observer, Teles consciously decides to participate and take up position. As a third pillar, she establishes an active applied performance art that becomes integrated in the cinematic narrative. Thereby transforming "once upon a time" into "there is". "Afterwards, nothing will be as it was and the melody of life will have changed", explains a voice off-camera.
From the producers of 'Class of 92', Busby combines previously unseen archive footage with interviews with those who knew the man best.
Having successfully tracked down NBA enigma Bryant Reeves in 2018’s festival hit FINDING BIG COUNTRY, director Kathleen S. Jayme now investigates a sprawling true sports crime: who’s responsible for robbing us of the Vancouver Grizzlies? In revisiting the short history of the bad luck bears who racked up all the wrong kinds of records (see that 23-game losing streak in the 1995-1996 season), Jayme’s documentary doubles as a testament to the enduring passion of true teal blue fans. It’s this passion that fuels a dogged odyssey that finds Jayme infiltrating corridors of power at the NBA’s head offices and knocking on doors as she connects the dots and reconnects with the heroes and villains of Grizzlies lore, including former players like Shareef Abdur-Rahim and Mike Bibby, and the team’s architect, Stu Jackson. The level of access is astonishing—there are “gets” that we don’t dare reveal—and so too is the candour of the interviewees. What emerges is a rousing story about the irrational fervour of fandom and sport’s unique ability to create identity, strengthen family ties, and forge community.
该片记录了19岁的孤独症患者詹姆斯和妈妈的生活日常，日复一日的学习和工作中，我们看到，音乐带给了妈妈不一样的力量。音乐，也让我们对未来，有所期待。
《中国梵高》讲述世界最大的油画复制工厂 - 深圳大芬油画村的农民画工，在多年复制西方经典油画之后，如何面对现实、对面自我、道德、艺术追求的多重选择。 《中国梵高》记录了大芬画工转型的路途中所遇到的困难、挣扎，绝望与希望，个人理想与现实生活的碰撞与妥协。大芬画工的转型同时映射了21世纪中国从“中国制造”到“中国创造” 转型中的复杂与矛盾，也批判了当代主流艺术圈的排他性，和社会赋予艺术价值的荒诞性。
Terminally ill Janette wants to die with dignity, but it’s not possible in the UK, where she lives. She therefore decides for assisted suicide. She must plan her journey to Switzerland before her rapidly advancing disease makes it impossible. The question of whether we own our own lives or whether they own us is the primary impetus behind this documentary portrait, which shows that death can be good despite the sadness that always accompanies it. The film, with dramatically suggestive camera work, uses feature film techniques, and engaging characters and stories of their loved ones are interwoven with Janette’s story. "Let's talk about death because we will all die someday. The question is: can we choose when and how? I think we should." T. Krupa
这部纪录片深入探讨了杰西卡·旺索(Jessica Wongso)在她最好的朋友米尔纳·萨利赫因(Mirna Salihin)去世多年后对她进行审判的未解之谜。
曾经为了梦想离开，如今舞蹈又带着他回来。排湾族编舞家布拉瑞扬在职业生涯高峰，站在世界舞台上，却想与族人共享荣耀。于是他回到故乡台东创立舞团，带着一群年轻的原住民舞者，一同入山劳动、临岸吟唱，用身体将生活跳成舞作。看着这群随性又自由、多非科班出身的孩子，仿佛看见当年奋力从 部落朝外跳的自己——同样渴望登台纵舞，同样难获父辈认同。
伊迪•阿敏•达达（Idi Amin Dada），乌干达20世纪70年代保守争议的统治者。1971年率领部队发动政变，在位期间积极向外扩张，在国内则实行高压统治，排除异己。一系列独裁手段使其在国际上声名狼藉。 为了挽回声誉，阿敏邀请了一个法国纪录片工作组拍摄他日程工作起居的影片。导演巴贝特•舒莱德（bet Schroeder）并未将影片拍摄成歌功颂德的吹捧之作，他删除阿敏大段的演讲画面，而更侧重对其真实性情的刻画。影片已经上映引起轰动，却也触怒了阿敏，他要求剧组对影片重新剪辑，并将在乌干达逗留的法国人扣为人质。此举震惊世界。
An inside look at the parental outsourcing business for the super wealthy
Undoubtedly one of Britain's greatest ever sportsmen, the story of AP's final season is a fascinating mix of sacrifice, doubt, decisions, triumphs and failures, injury and ultimately, finding a way to leave the stage. With unprecedented access to a top athlete, the film tracks all the elements that make up McCoy's life. We see him in action at racecourses across the UK and Ireland. We are with him at the Cheltenham Festival and Aintree. We see him struggling with injury at home, setting himself new targets and grappling with the decision whether to retire or not. We track the successful early part of the season, when AP harbours the outrageous idea of riding 300 winners in a season. We see the shattering effect of injury on body and psyche. We witness the torment of deciding whether this is to be his last season, and we are there as he goes through the public agony of playing out his retirement in public. And then it's no more. Our cast is the team around him; the billionaire owner, ...
