螺纹

　　In the age of social media, this eye-opening documentary examines the rising phenomenon of “fake news” in the U.S. and the impact that disinformation, conspiracy theories and false news stories have on the average citizen. The film focuses on several high-profile made-up news stories in recent years with real world consequences, including the infamous “Pizzagate” case, the disinformation campaigns that influenced the 2016 presidential election, the Jade Helm conspiracy, and others. Drawing from exclusive verite access and interviews with a variety of experts, as well as purveyors and targets of misinformation, the documentary sheds light on how post-truth culture has become an increasingly dangerous part of the global information environment.

　　一段名为《和豚说话的女孩》(The Girl Who Talked to Dolphins)的纪录片将于6月17日在英国广播公司（BBC）播出。
　　美国研究员霍韦（Margaret Howe）于上世纪60年代参与一项动物实验，尝试教导6岁大的樽鼻海豚彼得（Peter）说英语，希望证实海豚具有如人类般的语言能力。虽然彼得的学习成果有限，却意外爱上了与它朝夕相处的霍韦，编织出一段凄迷的“人豚恋”。
　　来自美属维尔京群岛的霍韦，在下周播出的英国广播公司（BBC）纪录片讲述这段经历。当年仅23岁的霍韦，于1965年参与着名神经学家利利主持的实验，被安排入住“海豚之家”10周负责教彼得英文，无论用餐、洗澡、睡觉或玩耍都在一起。
　　彼得仅学会“ball”（球）及“diamond”（钻石）等单字，却对霍韦日久生情。它被霍韦冷落时会“呷醋”，甚至对她展示性欲，多番将自己挤向她的双腿之间，并绕着她不断转圈。霍韦只好安排彼得与另外两条海豚生活来抑制它。
　　彼得可能感到自己过于热情吓坏了霍韦，变得较为温和；渐渐霍韦亦对它产生情愫。可惜实验后来因经费不足告吹，彼得被移送至迈阿密。与“爱人”分离的彼得或因心碎，数周后闭气沉于池底自杀身亡。

　　制作组在全中国挑选了十个最具代表性的深度贫困地区案例，分析每个地点采用的不同扶贫方式，例如易地搬迁、产业带动、教育扶贫、企业帮扶等，细说各地在过程中面对的困难，经过无数人的血汗及努力，终于取得成就。节目通过今昔对比，回顾以往生活条件恶劣的同时，呈现今天幸福生活来之不易。

　　Rebels on Pointe is the first-ever, cinéma vérité documentary film celebrating Les Ballets Trockadero de Monte Carlo -- the all male, drag ballet company founded over 40 years ago on the heels of New York's Stonewall riots. The company has performed in over 500 cities and 33 countries, and has a cult following around the world. The film juxtaposes exclusive, behind-the-scenes access and intimate, character-driven stories of its dancers, highlighted by amazing performances shot around the world. Rebels on Pointe ultimately celebrates our shared humanity through universal themes of identity, dreams, family, love, loss, determination and resilience... proving that a ballerina is not merely a woman dancing, but an act of revolution in a tutu.

　　为了惑敌， 英美军史中有不少根本不存在的幽灵部队，规模最大的是1944年在英格兰东南部的多佛尔虚设的一个由巴顿中将任司令的“美军第1集团军司令部”。
　　二战时美国幽灵部队把希特勒耍的团团转，而他一定想不到，部队的大部份成员都是精心挑选的艺术家。
　　战争靠的不仅仅是实力，还有智力。第二次世界大战期间，盟军就使用各种战争策略来混淆视听，误导或恐吓德国军队，比如降落假的伞兵、伪造军官William Martin的死亡、掩盖一个军用飞机厂等等。最近曝光的是被称为〝幽灵部队〞（Ghost Army）的计策。
　　〝幽灵部队〞被官方称为〝美军第23司令部直属特战团〞，一个拥有1100人的部队。他们的任务就是负责迷惑纳粹。该部队的成员并不是普通的士兵，而是从纽约和费城艺术学院精心挑选出来的艺术家、插画家和音效师。他们利用充气坦克和扬声器等作为〝武器〞对付敌军。
　　他们总共发起了20多次行动，拯救了上万士兵的生命，但是他们的英雄壮举没什么人知道。因为〝幽灵部队〞的存在和行动一直被高度保密，直到1996年有关文件被解密，他们才为世人所知。部队中有人负责创建虚假的交通网路，有的打扮成士兵，出没在当地的咖啡馆，向间谍散播一些假故事，还有的扮演成军官，开着吉普车从一个小镇至另一个小镇。有的时候，部队还会开着几辆卡车营造出步兵被运送的错觉。通常情况下，他们可以制造出2万到4万人的推进场景。为了创造出一个庞大的军队，部队会使用充气的坦克、卡车、大炮和飞机，并通过巨型扬声器播放预先录制好的装甲和步兵的声音，而这声音在15英里（约24公里）开外的地方都能听到。
　　他们最壮观的行动之一是在战争即将结束的时候。1945年3月，当第九军准备横渡莱茵河进入德国时，〝幽灵部队〞在不同的地方试图吸引德军部队的注意。他们设立了超过600个充气坦克和大炮，晚上播放坦克前进的声音，而白天则使用大型工程建造的声音。他们成功骗过了德国军队，让真正的部队在没什么威胁的情况下成功登陆德国。
　　战争结束后，部队里的许多人都继续他们的艺术生涯，其中有的还出了名，比如著名时装设计师Bill Blass、画家Ellsworth Kelly和摄影师Art Kane。现在1100名成员依然健在的只剩下不到50人。

　　防弹少年团釜山演唱会纪录片。

　　Brian Cox tackles some of the most challenging and intriguing questions facing science today by using his best material from past programmes and the latest scientific research.
　　Episodes include…
　　Space: How Far Can We Go?（太空：我们对宇宙的探索能走多远？）
　　Brian believes we are at the start of a new age of space travel, where space flight is on the verge of becoming routine. In this episode, he explores the latest science and takes a new look at his old films and asks: how far can we go in our exploration of the cosmos?
　　Aliens: Are We Alone?（外星人：人类是唯一的吗？）
　　Brian Cox looks at our attempts to answer one of the most profound questions we can ask – are we alone in the universe? In this film, he explains why this search should be taken seriously.
　　What Is Gravity?（什么是引力？）
　　Brian takes a fresh look at the concept of gravity, revealing it to be far more than just the force that makes things fall to the ground.
　　What is Time?（什么是时间？）
　　Brian explores the enigma of time – a phenomenon that we take for granted but which, as far as physicists are concerned, is one of the biggest mysteries in the universe.

　　"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.

　　一个好友请求彻底改变了 Kirat 的生活，当她与鲍比在网上的关系慢慢转变成恋情时，她永远也想不到鲍比并非表面上看起来那么简单。

纪录片《与宫崎骏和吉卜力工作室的2399天》将于今晚在日本NHK台播出，将展现他们为了《你想活出怎样的人生》的制作努力奋斗的七年。

　　In 1976, Karen and Barry Mason had fallen on hard times and were looking for a way to support their young family when they answered an ad in the Los Angeles Times. Larry Flynt was seeking distributors for Hustler Magazine. What was expected to be a brief sideline led to their becoming fully immersed in the LGBT community as they took over a local store, Circus of Books. A decade later, they had become the biggest distributors of gay porn in the US.
　　The film focuses on the double life they led, trying to maintain the balance of being parents at a time when LGBT culture was not yet accepted. Their many challenges included facing jail time for a federal obscenity prosecution and enabling their store to be a place of refuge at the height of the AIDS crisis.
　　Circus of Books offers a rare glimpse into an untold chapter of queer history, and it is told through the lense of the owners' own daughter, Rachel Mason, an artist, filmmaker and musician.

　　2018年5月和6月，Jean Gabriel P_Riot与位于Ivry Sur Seine的一所高中的10名电影班学生合作，开展了一项将电影与政治结合起来的项目。学生们在摄像机前和摄像机后工作，重新布置罢工、抵抗和劳资纠纷的场景，这些电影可以追溯到20世纪60年代末到70年代末，包括让-卢克-戈达尔和阿兰-坦纳的电影。nos d_faites汇集了调查结果，并增加了采访，在采访中，导演询问学生他们刚刚表演的场景，关于“阶级”、“工会”和“政治参与”等概念，以及更广泛的社会背景。这是一个简单，但尖锐的设置，让观众一瞥年轻一代如何看待政治和过去的政治电影。这部影片还记录了导演试图激怒学生的企图。在导演和学生似乎处于平等地位的遭遇中，基于从未见过的导演更多类似于老师的提问，以及此时此刻对革命的思考：起义的表现反映了同样的情况。这会导致一个真实的发生吗？
　　In May and June 2018, Jean-Gabriel Périot collaborated with ten students in a film class at a high school in Ivry-sur-Seine on a project that unites cinema with politics. The students worked both in front of and behind the camera, restaging scenes of strikes, resistance, and labour disputes from films dating from the late 1960s to the late 1970s, including ones by Jean-Luc Godard and Alain Tanner. Nos défaites assembles the results, and adds interviews in which the director queries the students about the scenes they’ve just acted in, about such concepts as “class,” “labour union,” and “political engagement,” about wider social contexts. It’s a simple, yet trenchant setup, affording viewers a glimpse of how a younger generation sees politics and the political cinema of the past. The film also documents the director’s attempts to stir up the students. The conversations vary between encounters in which director and students seem on an equal footing, based on more teacher-like questioning by the never-visible director, and contemplations of revolution in the here and now: the performance of an uprising follows reflection upon the same. Could this lead to one happening for real?
　　回到1968年的电影时代，继续对重放从过去跳出来的电影节选的年轻人进行今天的采访，我们的失败描绘了我们当前与政治的关系。我们的失败，还是我们有足够的力量来面对今天的混乱？
　　By going back into the cinema of the 1968 era and going forward with present-day interviews of young people who replay excerpts of film s jumping out from the past, Our Defeats draw the portrait of our current relations with politics. Our Defeats, or do we keep enough forces to confront ourselves with the chaos of today?