深度探访马丁·斯科塞斯丰富多彩的人生，包含他的私人档案，以及与亲友、传奇合作伙伴和这位具有远见的电影大师本人的深度对谈。
James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
A documentary of the Norwegian Black Metal scene
影片讲述了白鹳西里安和马其顿农场主尼古拉的故事。当被家人遗弃的尼古拉救出这只受伤的鸟时，他们的生活交织在一起。随着尼古拉和西里安的羁绊，他们在彼此的孤独中找到慰藉和陪伴。
第一集 玻利维亚 第二集 哥伦比亚 第三集 菲律宾 本季继续聚焦每天走在惊心动魄，生死难料的上学路上的孩子们，聚焦他们为了实现梦想而每天踏上世界最危险的上学路。
在闽南九龙江流域、中国第一座中山桥下，“船底人”围绕江面仅存的一艘500多年的“船庙”进发宫，浮家泛宅，繁衍生息。2020年12月，他们的“送王船”成为UNESCO人类非物质文化遗产代表作。然而，历史没能维持水·岸的分野，船底人在拥有又失去沙洲“烧灰巷”后，一次次面临穿鞋上岸的现实。为了水居的仪式感，他们强调着“船”，全力守住进发宫。于是，庙在水上，人上岸，迎王送船成为一场有关神圣故乡的隐喻仪式。作为学术过程，我们在十多年田野调查里进行过许多口述采访，但尝试拍摄家乡的纪录片是头一遭。水与岸，记忆与现实的象征，也向我们提问：相对于留守的人，出外的我们是否还代表着亲爱的故乡？
A man travels around the vast wilderness hunting various animals. He hunts everything from birds to bears. Once the animal is bagged he demonstrates how to process the game and cook it.
