德普大战希尔德

　　After Porn Ends, is a documentary that not only examines the lives and careers of some of the biggest names in the history of the adult entertainment industry; but what happens to them after they leave the business and try and live the "normal" lives that millions of other Americans enjoy. They hailed from the rural South, steel towns, and the San Fernando Valley. As teenagers, and young adults, none of them thought that porn was in their future. They were artists, baseball players, child prodigies, and even Ivy Leaguers. Now, after their lives in porn; they're TV stars, bounty hunters, writers, and social activists. What happened in between? And now that they've moved on, can they really live a normal life after porn? Written by Bryce Wagoner

　　法国南部的Chauvet岩洞里，有三万年前的原始壁画，还有冰河时期的哺乳动物化石，但洞口一直被落石封住，直到1994年被科学家偶然发现。这个宝贵的洞穴被严密保护着，赫尔佐格只获准进洞拍摄六天，每天四小时，他还采访了相关研究的科学家们，用他特有的方式，探索史前人类对事物的认知和表达方式、艺术和文明史的诞生、以及现今围绕在洞穴四周的好奇人群。他还注意到现代工业对史前遗迹的侵蚀——Chauvet岩洞附近恰有一个核电站，已经因为温水汇流形成生态圈，里面连鳄鱼都有了，Chauvet未来可能受到被淹没的威胁。
　　这是沃纳·赫尔佐格首次用3D形式拍摄他最热衷的纪录片。

　　该片深入叙利亚战区拍摄当地居民的生活，直击战乱瓦砾下的日常人生，记录了叙利亚的一个年轻女人在五年的时间里与爱、战争和母性的斗争。

　　《征服 14 座高峰：凡事皆可能》透过尼玛尔·普贾（“尼姆斯”）的视角，探索了尼泊尔与高海拔登山的不解之缘，尼玛尔·普贾是一位无所畏惧、热爱玩乐的尼泊尔登山者，他正在执行一项他称之为“可能性计划”的任务：在 7 个月内登顶世界上 14 座海拔 8000 米的山峰，而此前的最短纪录是 7 年。他与一群技术娴熟的夏尔巴人一起穿越了珠穆朗玛峰、乔戈里峰和其他标志性山峰，经历了极端天气、生死抉择，以及家中母亲病倒的变故。《征服 14 座高峰：凡事皆可能》是一个关于勇气、毅力和挑战人类耐力极限的惊险故事。托奎尔·琼斯担任编剧、导演和制片人。金国威和伊丽莎白·柴·瓦沙瑞莉共同担任监制。该片由 Noah Media Group 和 Little Monster Films 联合制作。

纪录片聚焦潮汕菜系的全球传播，探究其如何在东南亚等地融入当地饮食文化。影片不仅记录潮汕风味的地域差异，还通过家庭故事展现潮汕人的礼仪传统、情感纽带及身份认同。例如，蓝鸿春指出潮菜在海外“落地生根”的特点，常以平民化形式影响当地日常饮食。

　　电影，一项百年前兴起的新科技，没人料到纪录它的材料——胶卷，会在这个时代濒临绝种，被数位潮流给取代。胶卷，在温度18-22度与溼度55度的环境下尚能生存6、70年，但当它暴露在缺乏恒温恒湿的环境里胶卷随时可能开始发酸，影像随之裂解、溶出，而记载在上面的一切记忆也就无法再被唤醒。
　　台湾有一群人，正参与在这场时间竞赛中，他们隐身于「新加坡工业园区」的片库，这裡一万七千多部的胶卷与百万件的电影文物，成为他们的精神粮食，他们日复一日的在裡头穿梭，带著疑问、带著学习、带著信念。他们在做的，是唤醒这些长年被忽略的胶卷，进而拼凑出那些不复存在的社会氛围和遥远的生活样貌。而这些片库时光，就是电影典藏与胶卷修复者们的日常。

　　Massive machines require engineering extremes.
　　The massive man-made satellite, commonly known as the International Space Station, hurtling around the Earth at 27,600 km an hour, has been a temporary home for humans for the last 20 years. The biggest land vehicle on earth, a bucket excavator titled Bagger 293, that can move 240,000 cubic meters of dirt each day. Innovation has always meant building bigger, faster, taller, longer and stronger than anything that came before. We’ve seen them in dramatic visual fashion. But how do these actually work? What sets each machine apart. What big ideas drove its evolution and what limitations did this machine overcome? What forces was it built to withstand and where is the breaking point? Using CGI and expert insights, we ‘strip down’ the design of some of the world’s unique colossal machines and reveal mechanical secrets that not only made them work, but also changed the world in a big way!
　　Each episode explores four incredible machines, linked thematically. From sea and space faring designs, to mega airborne, mining and industrial machines, we’ll break down what they can do as well as key inner mechanics and materials that make it all possible. Dynamic archival footage featuring; slow motion, aerials, and time-lapses get us past the ‘caution’ tape and up close and personal with these compound monsters. CGI provides breakouts and blueprints and a look at hidden mechanisms. Adding expertise of structural, mechanical, chemical and forensic engineers to help reveal what’s at stake when these colossal constructions are put work, and how all the pieces come together to make a big impact.
　　EPISODES:
　　S1 E1 Sea Monsters
　　S1 E2 Astronomical Engineering
　　S1 E3 There Be Dragons
　　S1 E4 Sub-Zero Supermachines
　　S1 E5 Earth Biters
　　S1 E6 Mammoth Manufacturing
　　

　　许多政治家都经历过政治生涯走下坡路的故事,但是很少有电影能够完全捕捉到像政客韦纳这种深刻且非常滑稽的一面。随着对安东尼·韦纳本人和他的家庭，以及他的纽约市长竞选团队的前所未有的采访，这部电影纪录了即将崩塌的政治事件。故事开始于前国会议员始料未及的重返政坛，但随着韦纳被迫承认新发色情短信的指控，故事又急转直下。媒体不停地挖掘和曝光他的一举一动,韦纳拼命想开拓进取,但是越来越大的压力和严重的24小时连续的新闻报道葬送了他的政治抱负。
　　韦纳的这场政治闹剧和个人的悲剧，揭露了前国会议员的傲慢，同时也批判了媒体对其家人攻击的丑陋一面。在纽约市这个响亮而热闹的大背景下，这部影片以一种无比坚定的、幽默而感伤的方式揭示出日益多见的政治运动的本质。

　　Entente Cordiale intends to illustrate colonisation as a human phenomenon in an explicit manner as well as in a metaphoric sense without suggesting simplified accusations or political propositions. It will not be a historical film since colonisation as well as slave trade are still happening today - in a modified way, a more industrial, massive and more global fashion than a hundred years ago.

Following the steps of an English botanist, in the landscapes of the Normandy coast, people and cameras look at flowers. This is an essay on attention and friendship, a cinematic herbarium.

　　What could the fate of the Villa Empain, Baron Empain’s crazy project in Brussels, which has gone through a long and eventful journey since its completion in 1934, possibly inspire? Katharina Kastner’s challenge was to draw the portrait of the place, keeping in mind the work of time, like in a human existence. Shot in 16mm, her film appeals to the senses, it captures the stirring of leaves undulating in the garden light, the movement of iridescent pearls, or the colourful games of
a piece by Daniel Buren. Without a word, but with a caressing camera, she pays close attention to the hidden patterns on the gorgeous marbles, or to the veins in the most precious types of wood used to decorate the rooms. In slight touches, regardless of the monumental aspect of the 27.000 square-feet villa and the pool that so impressed its first visitors, Katharina Kastner o ers an organic vision of the place, which has been marked by the trials and tribulations of life, and used successively as a museum, an embassy and a squat, until its final renovation. The clever editing makes furtive connections, underlines colour associations, mixes up times and tactile sensations, while the spaces we explore keep rustling. The film takes us on a reminiscing journey, with slices of Empain’s life, from the family archive here on a holiday, there playing on the beach, images from a distant past that keep haunting the premises. The film reveals to us this living space that was designed like a piece of art, but it does so in a wandering way. This dream vision guides us through the villa like an echo of foregone fantasies, a mental space, but also a welcoming backdrop for the work of time. A bit like the fingerprint work we see in the film, or the slight touch of a pencil on a blank sheet.

　　这部长篇记录片背标邦威记录科比的生活，灵感及遇到的挑战，也为他下一季重回NBA赛季奠定了基础。这部片子还会聚焦在科比在其职业生涯内所取得的成功及面临的挑战，让大家看到另一面的篮球明星。科比在片中也会谈到自己对于运动生涯结束后的规划，尽管没有给出详细的例子，但是Showt ime节目表示科比的“个人成长经历”也会着重被讲述。
　　“《科比·布莱恩特的缪斯》将提供给观众一个全面的职业运动员，一个已经超越了自身职业并成为了一个标志性人物的运动员”。美国娱乐时间电视台执行副总裁埃斯皮诺萨表示，“我们很高兴，科比给了我们这个前所未有的访问，这将让我们的观众见证一次NBA的最伟大球员之一生命中这样一个充满挑战的时期”。
　　科比·布莱恩特，18次进入NBA全明星赛，五次进入NBA总冠军赛，因为左膝受伤而缺席了2013-14赛季。