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。
《探索新境·寻找王一博》新境日记，独家未公开内容！
目前，在伦敦定居的亿万富翁数量比世界上任何其他城市都要多。和我们所有人一样,他们也需要吃饭。普通人在超市购买食物，百万富翁们通过米其林指南选择餐厅,而亿万富翁们则采用奢侈食品供应商私有网络。这部上下集系列的纪录片聚焦于为这些英国超级富豪客户服务的独家供应商，这些亿万富翁们生活在一个物质永不匮乏的世界。现在，伦敦的精英们正在改变——目前，价值超过一千万英镑的财产中，有一半属于外资,所以，食品供应商们必须适应新形势，同时，需要比以往任何时候都要努力，才能在越来越难获得丰厚利润的新市场中拥有一席之地。
The series follows Faye Yager, who built a vast underground network that hid hundreds of mothers and children, saving them from the alleged abuse of husbands and fathers when a broken court system would not.
本片以苏轼贬谪黄州四年的生活为线，观照其一生的心路历程，从文学、艺术、美食、情感等多维度，解读苏东坡生命感悟、精神嬗变和艺术升华的过程。同时，辅之以当今最新的苏东坡研究成果，再现一个最丰富、最接近本真的苏东坡形象。全片共分为：《雪泥鸿爪》《一蓑烟雨》《大江东去》《成竹在胸》《千古遗爱》《南渡北归》等六集。
作为创下 TED 有史以来观看次数最高的演讲之一、浏览量超过 3800 万次记录的演讲者，研究教授兼畅销书作家布琳·布朗博士在长达一小时的 Netflix 原创特辑中，以一种全新的方式阐释了勇气。布朗凭借她标志性的幽默、诚实和洞察力，消除了勇气和脆弱互相排斥这一误解。她还谈论了自己 TED 演讲的初衷，以及她对自己因这次盛大的公众活动而获得突然曝光的感受。《布琳·布朗：唤起勇气》在加州大学洛杉矶分校罗伊斯大厅现场录制，布朗向观众发出挑战，请观众登上舞台、展现自我并回应自己对勇气的渴望。
纪录片制作人乔恩·阿尔珀特（Jon Alpert）跟踪了纽瓦克的三名轻罪犯人。隐藏摄像机拍摄了他们三人偷窃、吸毒、被捕和定罪的全过程。
The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema. Alexander Kluge: The Power of Feeling When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster. The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public. The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim. I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.
入选国家广播电视总局“十四五”重点选题规划的大型社会观察类纪录片《流动的中国》，将目光聚焦于所有正在奔跑、正在奋斗的国人。如果要为当今的中国画一幅水彩，那么流动应该是它的底色之一。从内陆到沿海，从乡村到城市，从工厂到田间……流动的中国时刻创造着可能和机会。《流动的中国》共4集，分别以“家乡”、“坐标”、“答卷”、“追梦”为主题展现人口的迁移、人与城市的关系、人和时代的联系以及个人梦想的追求等故事，以深入的蹲守式拍摄，讲述普通人的流动故事。
来自全球3500位阿公、阿婆齐聚内蒙古的世界桌球锦标赛，半生戎马、宝刀未老、卧虎藏龙，他们个个摩拳擦掌要角逐世界冠军的宝座。杀球！杀到片甲不留的一场武林争霸就要开始。81岁的大力爷爷患有癌症，拿到金牌是支撑他活下去的唯一动力；89岁的小英奶奶则为了避免老人痴呆症而练习兵乓球；让年轻人闻风丧胆的澳洲传奇人物：小桃奶奶，今年已经101岁了，站在乒乓球桌前仍然是一尾活龙。来自台湾的沈士雄爷爷击败了七次世界冠军、来自桌球发源地英国的逵西爷爷，风风光光为台湾拿下世界冠军的金牌，台湾阿公用一支小小的乒乓球拍征服了全世界。得冠军、拿金牌，他们用无比的热情与毅力，告诉全世界：乒乓永远OK啦！
通过没有公开的过去未公开的影像和现在IU最真实的想法，以及最近看到IU的人的故事，与她二十多岁的年龄层之间的碎片见面。
关于太空殖民的纪录片：穿越我们的星球，进入星空甚至更远的地方。
