敦煌，千年不散的宴席

　　The Future of Work and Death is a documentary concerning the growth of exponential technology and where it is taking us. The film focuses on how future technology could significantly change the two inevitable features of the human experience; punching the clock and fading away. It explores how advanced automation, AI and technological singularity could be achievable in the next 30 years. How job obsolescence and technological unemployment could consequently occur and how digital immortality may not be a thing of science fiction. But what are the socio-political repercussions of these innovations and are we ready for them? Does working less mean living more and is ending ageing incumbent on us? Worldwide experts in the fields of futurology, anthropology, neuroscience and philosophy share their thoughts on these future advancements.

　　《雕像也会死亡》（Les statues meurent aussi，阿兰·雷乃、克里斯·马尔凯，1953年出品，27分钟）尖锐地批评了西方殖民主义对非洲传统艺术的戕害以及自称热爱非洲艺术的上等阶层的贪婪与伪善。本片的主角是来自黑非洲的人物雕像、面具和其他非洲艺术品，但是它们的演出场所并非黑人的故乡，而是白人的欧洲，艺术品市场和艺术品拍卖会是它们频频出没和滞留的中转地。这些本来被非洲部族用来抵抗死亡的面具和雕像，如今却呆在博物馆的橱窗里静静地死去。此时，画外音告诉我们：“当人死去的时候，他便进入了历史；当这些雕像死去的时候，它们进入了艺术；这种关于死亡的学问，我们最后称之为文化。”由于本片具有鲜明而强烈的社会批判意识，自拍竣之日起即遭到法国政府禁映，直到1963年才解禁。本片由长于剪辑的阿兰·雷乃操刀剪辑，由强于写作的克里斯·马尔凯撰写解说，充分发挥了两人各自的强项，可谓强强合作的结晶。
　　This collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker's characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.

　　一档原创情感纪录片，一部关于他们真实约会的纪录片，它真实记录当下不同城市、不同背景、不同性格的单身男女，他们带着期盼与勇气，开启现实生活中的一次次邂逅，真实对话，勇敢追爱。在此过程中，也将看到他们各自的情感议题，对于构建亲密关系的困境、观念碰撞。面对爱情，照见自己，收获成长。

　　The enchanting island of Sri Lanka is a world of extremes. Dry lowlands are home to the largest leopards in the world, and steamy rainforests teem with bizarre creatures found nowhere else. These six films introduce the island’s most engaging and iconic characters, all set against a backdrop of spectacular landscapes and dramatic weather.

　　本片无疑是专属于这个时代的纪录片。在这个各种新媒体不断涌现的时代，人们接触讯息的管道前所未有的纷杂，各种「假新闻」或「另类事实」（alternative fact）的星火满天飞，引发话题在全球延烧。随著媒体日益分化，以及社群媒体掌握讯息散布管道，政治宣传在其中扮演了什麽样的角色？它如何默默影响世界秩序的转变？
　　这部纪录片将揭发那些寻求权力的人，如何透过政治宣传手段达到其目的。导演除了分析当前的政治社会情境，同时也爬梳了政治宣传的历史，回顾过往历史上几个关键时刻，揭露当时政治宣传如何被当成巩固国族及控制人群的工具。就当今的情势而言，本片绝对是一则必要且警世的寓言。
　　政治宣传的发展历史源远流长，并且经常与时俱进。从远古时期的洞穴岩画，到西斯汀教堂的壁画，再到推特上的针锋相对，政治宣传运用各种形式的媒体，来动摇、威逼、恐吓人民。人们被谎言或半真半假的消息喂养著，然而他们往往对此类讯息飢不择食。险恶的威胁和不切实际的诺言，这些不断高升的情绪诉求，完全压制了理性思考的声音。当谎言推翻了真相，便成为了新的现实，半真半假的讯息在狂言妄语中不断被散布，真实就再没有被讨论的空间。政治宣传本身是无害的，但这项工具一旦落入最恶名昭彰的煽动者手中，后果将是致命的。

　　纪实故事集《籍籍无名》通过六个独立而完整的故事，用三年的制作周期，讲述了每个普通人，对于自身的“无可替代”与“独一无二”。我是谁，我不是谁，我身处何地，我能做什么，我又不能做什么。那一条条纵横交错的路径是大路还是小道？那些关于职业足球运动员、电影导演、月球陨石、世界金牌以及城市舒适生活的愿望，到底在哪一格？
　　六个真实故事的主人公们有着大大小小的愿望，唯有为这些心愿努力过，他们才可能迈向普通人的生活。故事的结尾，他们依然籍籍无名，但他们眼里望出去的世界，已经与三年前不同。世界不是一个结论，那一条条纵横交错的路径正是每个人校准自我坐标的过程。

　　Created by the monarch, Dukedoms are gradually becoming extinct - the last one was created by Queen Victoria. In this one-off documentary Michael Waldman meets some of the last vestiges of this level of British aristocracy, and asks what has become of those who remain.
　　In 2012 South African Bruce Murray found himself becoming the 12th Duke of Atholl and heading up the only private army in Europe - the Atholl Highlanders.
　　If Camilla Osborne had been a boy, she would have inherited her father’s Dukedom, but now there is no longer a Duke of Leeds.
　　The Duke and Duchess of St Albans don’t have a stately pile, but do have their coronets and coronation robes.
　　One of the few Dukes to still sit in the House of Lords, The Eighth Duke of Montrose (pictured) is a hill farmer by trade. He continues the family tradition of being intimately involved in the political relationship between Scotland and England.
　　The Duchess of Rutland was determined to make Belvoir Castle an efficient business, living onsite in one wing, with her estranged husband the Duke living in another. Their elder teen daughters are prepared for when the title is passed down to their younger brother.
　　Whilst at Blenheim Palace, Lady Rosemary Spencer Churchill, daughter of the 10th Duke of Marlborough, revisits her childhood home. Her nephew succeeded to the title only recently and it’s a rather a different Blenheim to the one she remembers.

　　世界最着名的无上装艳舞俱乐部、巴黎的“疯马”再度登上银幕。由82岁的美国纪录片名导弗雷德里克‧韦斯曼执导的《疯马歌舞秀》威尼斯、多伦多和圣巴斯蒂安电影节上映。影片从年轻的舞蹈家PhilippeDecouflé被聘用为新节目编舞开始，向人们展示了“疯马”是如何运作的，以及从舞女到经理、看门大妈等形形色色的人物。韦斯曼是美国60年代“直接电影”运动的主要人物，他的镜头不流露主观性，并且摈弃了采访或者旁白，都是通过海量的拍摄素材在剪辑室里“诞生”一部电影。《疯马歌舞秀》也是这样，影片活色生香，让观众接受了一番美胸和大腿的洗礼，丝毫不会顾忌女权主义者的目光。1996年法国人自己也拍过一部纪录片《疯马秀》，该片因为有着后来走入了主流时尚界的蒂塔‧范‧提斯而值得特别的瞻仰。
　　疯马俱乐部和旗下的代表节目裸体歌舞秀起源于1951年，以口味纯正的法式风格和浪漫艳舞而着称。其特色就是将裸体、灯光、布景、舞美相结合，营造出声、光、色、裸的“新境界”。关于疯马歌舞秀的纪录片有很多，从1977年开始，到2010年都有不少部关于歌舞秀和歌舞演员的纪录片和电视节目被制作出来。但是这些电视节目大多带有猎奇和纯粹记录的特色，制作相对粗糙。
　　纪录片大师弗雷德里克‧怀斯曼这次拍摄的《疯马歌舞秀》是他的一部全新的纪录片。在这部纪录片中，弗雷德里克‧怀斯曼将放弃他在过去的四十年中长期使用的16mm的胶片带来的粗糙影像，他更换了摄影设备，使用了高清晰度的摄制装置。他的这种风格上的转变是为了捕捉到疯马歌舞秀在电光声上的美轮美奂和歌舞演员们的完美肉体而产生的。弗雷德里克‧怀斯曼一共在疯马俱乐部里呆了11周，他和他的摄影师约翰‧戴维进了一切可能，拍摄下了歌舞表演以及演员生活的方方面面。或许，这将成为怀斯曼拍摄过的最香艳的纪录片。

　　SHOT! The Psycho-Spiritual Mantra of Rock is an odyssey into the colorful and bohemian tales of rock 'n' roll's history. A cinematic adventure that delves deep into the mind of one of rock's greatest living photographers: Mick Rock. Through the poignant lens of rock 'n' roll mythology; icon-maker, psychedelic explorer, poet, and custodian of dreams Mick Rock navigates his story from the glam rock shimmer of London to the snarl of NYC punk, and deep into the new millennium. Mick turns inward to face himself and the experiences as the visual record-keeper of myths and legends that propelled him into a living icon in this rock n’ roll comeback story.

　　大型高清电视纪录片《云冈》在大同云冈石窟开机拍摄，该纪录片共分6集，每集52分钟，由中央电视台、山西广播电视台联合拍摄。纪录片以云冈石窟为背景，以歌舞、农耕、饮食、建筑为主线，纪录现实生活，再现历史故事，以专家解释、说明等形式呈现给观众，从而展示出大同市深厚绵长的文化底蕴。预计12月底拍摄完成。

　　公元1905年，此时的中国已经遭遇了八国联军以及各国列强的涂炭，一系列丧权辱国的条款仍在签署。这块土地和在这里休养生息的中国百姓，隐忍地接受着那些颐指气使的洋人们和他们的带来的一切。
　　
　　洋人们已经把这块土地当成自己的乐土而乐不思蜀。
　　
　　慈禧仍在东暖阁内垂帘……
　　
　　而国家已经是内扰外攘、民不聊生……
　　
　　我们的故事，就发生在 l00 年前的中国。

　　The film charts the iconic British band’s sprawling journey over the last few years – from an unexpected break in Hong Kong which sowed the seeds for their first album as a four piece in 16 years, to a glorious home coming show in London and, finally, an emotional reunion with their Hong Kong audience.
　　New World Towers cuts between scenes from the band’s impassioned performance at this summer’s Hyde Park show in front of 60,000 fans and the stirring concert in Hong Kong, but also offers a raw, candid glimpse into the interior life of the band as well, with personal documentary footage and band interviews showing just how an opportune recording session unexpectedly gave birth to a new album, while also raising questions about the future of Blur. New World Towers reveals fascinating insights into the group dynamic and especially the relationship between singer Damon Albarn and guitarist Graham Coxon. Ultimately, their enduring friendship prevailed - allowing Coxon to bring [The Magic Whip] to completion nearly 18 months later.