一年来贴身采访漫画家井上雄彦，对他的工作提出问题并得到解答，了解到他独特的工作方式，以及对作品的执着。 大家通过此片可以近距离的了解井上大师的日常工作、创作的理念，以及在漫画创作时所遇到的困难、内心的痛苦。。。 希望各位能在观看后体会到在精美的漫画作品背后，井上大师及其他工作人员所付出的艰辛。。。 谢谢。。。
资深生存主义者尝试在荒凉、危险的环境中生存21天。为了争夺有限的食物、水和住所，男性和女性都必须挑战人类耐力的极限，同时还要避开对地盘敏感的食肉动物和充满毒液的爬行动物。因为别无选择，竞争者们很快就了解了彼此以及他们周围的环境，他们还希望自己的本能、生存技能和勇气能很好地为他们服务。
熟悉的歌声响起，从小到大的她的影像出现，聚焦这个尚未满19岁的年轻歌手的崛起、她那些改变了自己和许多人人生的音乐、她台前幕后的生活。
《海底大揭秘》揭开了我们的大海里隐藏的秘密和失落的世界。这一创新系列运用突破性的技术、惊险的摄影和顶级海洋考古学家的评论，对人类文明的史诗和地球本身的深层历史提供了深刻的新见解，揭露了沉没的城市、沉船、宝藏和深海令人惊叹的自然奇观。从中国海、墨西哥湾和地中海，到尼罗河、波罗的海和大西洋，这个系列将解释船只是如何沉没的，现代科技如何在充满挑战的气候中运作，古代地质构造可以告诉我们地球上的生命，纳粹的秘密可能在哪里，以及为什么对亚特兰蒂斯的搜索还在进行。以墨西哥湾为例，本纪录片绘制贸易、奴隶制、战争和石油工业的图表，以证明北美的故事只能通过观察海浪来理解；中国海下面藏着有史以来最大战舰的残骸，环太平洋地区的勘探则揭示了破坏性自然灾害背后的致命地质力量，并提供了下一个“大”战舰可能于何时何地出击的线索。
It was a fateful coincidence that in 2014, just when the Allard Pierson Museum in Amsterdam was staging an exhibition of Crimean artworks, Russia annexed the region. So now the question arises of who should the artworks be returned to? To the museums in Crimea who had been so kind as to loan them out? Or to Ukraine, perhaps, the country Crimea belonged to before the annexation? What should the museum’s director Wim Hupperetz do? Veteran documentary filmmaker Oeke Hoogendijk (The New Rijksmuseum) is just the woman for the job when it comes to turning this complex issue into an exciting film, and finding the human dimension in a tangled judicial tug-of-war. Political, emotional, personal, cultural, and historical interests all jostle for position as lawyers arguing from a purely judicial perspective present their case and distressed museum directors face big gaps in their collections. While archaeologists in Crimea continue their groundbreaking historical work, it looks like their previous finds are going to be re-buried in the Netherlands—shut off from the world in a warehouse, they are perhaps the biggest losers in this conflict.
In 2007 Banksy goes to Palestine to paint on walls. Someone takes offense at a piece depicting an Israeli soldier checking a donkey's ID. A local taxi driver decides to cut it off and sell it back to the West. This is the story of the Palestinian perspective and reaction to street art through the work of its most celebrated hero. The story of an illegal black market of art stolen from streets around the world, cultures clashing in the face of an unsustainable political situation and finally of the changing perception on street art. It is not one story, but many. Like Banksy's art would be meaningless without its context, so the absence of it would be meaningless without an understanding of the elements that brought his artwork from Bethlehem to a Western auction house, along with the wall it was painted on.
从招生考试到初次职业选择，《演上瘾》(2004)记录了背景不同的四名学生在柏林恩斯特•布施戏剧艺术学校七年的成长历程，突出其信任合作的建立和打造个人印记之间的矛盾，通过展现对象为成功付出的代价来批判地审视知名艺校的教学方法及成果，在强调学生因经济困境而典当等场合时不惮于将纪录与排演结合。影片获得柏林电影节全景单元观众大奖并提名欧洲电影奖最佳纪录片。（豆瓣电影字幕翻译2.0小组）
