转角遇见史前鱼

　　A man is waiting in his hut in the desolate expanse of the Russian Arctic. He is holding out in order to observe a natural event that occurs here, every year. But ocean warming is taking its toll.

　　An alarmingly disproportionate number of Black women are failed every year by the U.S. maternal health system. Shamony Gibson and Amber Rose Isaac were vibrant, excited mothers-to-be whose deaths due to childbirth complications were preventable. Now, their partners and families are determined to sound a rallying cry around this chilling yet largely ignored crisis.
　　Directors Paula Eiselt and Tonya Lewis Lee follow Gibson’s and Isaac’s bereaved partners, Omari Maynard and Bruce McIntyre, as they fight for justice and build communities of support, bonding especially with other surviving Black fathers. Their tragic, individual experiences are punctuated with condemning historical context, showing that gynecology has a long-standing history of exploiting and neglecting Black women in America. In the arresting words of mother-to-be Felicia Ellis, “A Black woman having a baby is like a Black man at a traffic stop with the police.” She emphasizes that paying attention is paramount. Aftershock brings an unsettling reality to the forefront while uplifting the families, activists, and birth workers who are striving to bring institutional change and legislative reform. These mothers will not be forgotten.

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？

　　这部纪录片以纳萨尔格纳瓦乐队为线索追溯到灵魂音乐之起源，也就是一千多年前的摩洛哥，一千多年前的非洲大陆。导演希望通过这部纪录片能向世人展示这种宝贵的文化遗产之魅力。片中着重介绍了撒哈拉音乐，纳萨尔格纳瓦音乐以及著名诗人埃尔·梅迪巴的诗歌节选。

　　A busy Nanny School in Indramayu (West Java) is preparing hundreds of women each year for life as domestic workers abroad. Help is on the way? explores the various characters that undertake the required training and development, following them from the village to the school, into Jakarta and eventually working abroad in Taiwan. We also explore the role of the agents, teachers and personnel at the school. It is at times an emotional journey but also funny, enlightening and a little competitive, offering a unique insight into a lifestyle not often seen on screen.

　　Hunted down by the brutal Northern Brothers, Lioness Tsebe must choose between her pride's safety and her own freedom. Orphaned leopard Motsidi, struggles to take control her dead mother's forest. Esteemed matriarch Mogolo, has given her life to the pack, but she's old and tired. She needs to find a worthy successor before her aging failures destroy the pack.

　　The nearly 50 years prolific carrier of Sylvester Stallone, who has entertained millions, is seen in retrospective in an intimate look of the actor, writer, director-producer, paralleling with his inspirational life story

　　2017年，李一凡开始拍摄杀马特。他从深圳开始，在深圳、广州、中山、惠州、重庆、贵阳、黔东南州、黔西南州、毕节、安顺、昆明、大理、玉溪、曲靖，以及红河州，共计完成杀马特采访67个，网络采访11个。在拍摄期间，李一凡又从杀马特和其他工人手中，通过直接购买手机视频等方式，收 集了工厂流水线及工人生活录像915段。
　　这是一次详实且残酷的调查梳理行动。五颜六色的头发下面，李一凡重新检讨了城乡关系里，关于社会底层工人的生存代价和权利困境的根源。当越来越多的杀马特消失在人们视线里，而曾经或依旧是流水线工人的他们，和今天仍然不断涌入城市的打工者一样，依然面临着实质上的权利不平等，依旧笼罩在制度性排斥的阴影里。
　　杀马特音译自英语“smart”一词，泛指一种中国城市年轻工人中曾经风靡一时的亚文化潮流，以夸张而廉价的服饰、发型著称。艺术家、纪录片导演李一凡花费数年时间实地接触和研究“杀马特”群体，最终用访谈和工厂场景创作出一部长片，并在展览现场用数百部二手手机播放购买自工人自拍的生产场景。
　　李一凡将展览视为一次让美术馆观众看到另外一个社群的机会，在长片中他借用年轻工人的陈述，描绘出杀马特形成的条件、变化，及如何在舆论暴力下走向式微。在项目中，他始终是以无知者的角色进入，随后逐渐发现杀马特的遭遇，来自于年轻工人的孤立处境和与城市主流生活之间的疏离，并把项目看作是对杀马特一词祛魅化的过程。这与他一贯的立场保持一致，即认为在中国的现状下，艺术创作应当基于对社会生活的直接体感，才能因现实本身的超越性，获得足够的创造力。

　　最好的编剧写不出最真实的急诊室故事，
　　这里每天都上演着无数悲欢离合；
　　我们用九十八个摄像头全天候记录，
　　只为向您呈现最动人震撼的生命魅力。
　　10月22日 21：20 东方卫视
　　《急诊室故事》第二季 感动回归！