Born in the USSR: 21 Up is a 2005 British documentary, directed by Sergei Miroshnichenko.
Following in the tradition of the original UK Up Series, this documentary revisits a group of Russian children at seven-year intervals to track their development against a backdrop of social and political change. Following the success of the UK original, this film looks at life for a group of young people from the former Soviet Union. The adults here, all introduced to viewers at the age of seven and seen again at 14, were born in a country that no longer exists. Their stories provide an insight into the break-up of the former Soviet Union as well as a reflection of what life has become without Communism.
Since filming started 14 years ago, some of the youngsters have left the former USSR to go to Israel or the United States, some have stayed in their family home, but all have had their lives changed. Archival footage of them at the ages of seven and 14, and now new material at 21, shows life in a society that was once shut off from the world.
The documentary was followed by Born in the USSR: 28 Up in 2012.

Dreams, fears, and hopes of today's 28-year-olds in Russia. Revisiting its protagonists
every seven years, the film provides a unique glimpse into the turbulent life trajectories of the "last Soviet generation."
Following the idea of Michael Apted, film director Sergey Miroshnichenko documented the lives of the “last Soviet generation” from across the former Soviet Union. Starting when they were seven – just before the collapse of the communist empire – the director returned to the protagonists every seven years to re-examine their lives, decisions, and opinions. Now 28 years old, most of them seem rather disillusioned with the modern Russia in which they find themselves. While some are pining for the old order of their childhood, others are determined to master their own destinies.

这是关于The Clash乐队灵魂人物Joe Strummer的记录片。The Clash乐队是一支在英国朋克乐坛历史上占有重要地位的乐队，几十年前，当朋克音乐如火如荼的发展的时候，当性手枪乐队横扫朋克摇滚乐坛的时候，一支朋克音乐的新生力量正在迅速崛起，这就是The Clash碰撞乐队。朋克音乐发展为今天的这种繁荣景象，The Clash起到了巨大的推动作用。乐队组建于1976年，由Mick Jones任吉他手，Joe Strummer任主唱，Paul Simonon任贝司手。Topper Headon任鼓手。Joe Strummer生于政治世家，很多歌曲以政治为题材，有浓烈的左派思想，上世纪70年代末期到80年代可谓是叱咤英伦乐坛，掀起朋克浪潮，1982年成功打入美国市场。 2002年12月22号下午，Joe Strummer这位50岁的朋克偶像在屋内跌倒身亡，死因为心脏停止跳动而辞世。许多音乐人带着沉重的心情哀悼Strummer的过世，U2主唱Bono在官方网站上留言：“The Clash是最伟大的摇滚乐团，他们为U2写下最佳守则 我们本要在一月碰面，跟Dave Stewart一起完成我们为曼德拉所创作的歌，这真是太震惊了！”
记录片展现了曾经那个岁月的激情，生命永远在理想的中不会老去，那份情怀，终会有心照不宣的共鸣。片中U2主唱Bono，以及好莱坞明星约翰·库萨克 ，约翰尼·德普，马特·狄龙以及美国独立电影导演吉姆·贾木许都会有对这个天才摇滚音乐人，诉说感怀和怀念。

Rainer Werner Fassbinder was probably Germany’s most significant post-war director. His swift and dramatic demise at the early age of 37 in 1982 left behind a vacuum in European filmmaking that has yet to be filled, as well as a body of unique, multi-layered and multifarious work of astonishing consistency and rigour. From 1969 onwards, Danish director and film historian Christian Braad Thomsen maintained a close yet respectfully distanced friendship with Fassbinder. Fassbinder – Lieben ohne zu fordern is based on his personal memories as well as a series of conversations and interviews he held with Fassbinder and his mother Lilo in the 1970s. The film also contains current interviews with Irm Hermann and Harry Baer, both of whom were close to Fassbinder. Beginning with Fassbinder’s extraordinary childhood in traumatised post-war Germany, the film, which is divided into seven chapters, provides an illuminating, intimate and moving tribute that bears witness to the enduring relevance of both the man and his work. Today in particular his oeuvre continues to provoke us to engage with controversy and tension – be it aesthetical, creative or critical. berlianle 2015

日本官方开记招，只视作例行公事，偏偏有一人穷追不舍，要求官员讲人话。《东京新闻》记者望月衣塑子以打烂沙盆问到笃的求真态度，追究填海工程忽视污染，跟进伊藤诗织遭性侵案，质疑政府高层利益输送。其故事曾被改编成电影《新闻记者》The Journalist（藤井道人2019年导演作品），引起社会回响。森达也（《我在真理教的日子》，23 届）找来望月衣塑子本人，纪录她如何在父权社会挑战贪腐高墙，在强调集体和服从的社会，坚持「我」的独立思考，维护传媒作为第四权监察政府的责任。

３年に１度、瀬戸内の里海に知られざる絶景が現れる。瀬戸内国際芸術祭。島々を舞台にさまざまな現代アートが展開する美の祭典だ。これらのアートと風景が織りなす極上の美を俳優の吉高由里子が訪ねる。浜辺に現れた１９６の子どもの砂の像、森につるされた４００の風鈴の音色、古い集会所に作られた４００の建具のトンネル。暮らしや風土と一体化したアートが生み出す絶景は刻一刻とその姿を変え、いつしか里海に溶け込んでゆく。

This documentary tells the story of film director Aleksandr Medvedkin, throughout his life a sincere believer in communism

The centuries old Japanese art form has gone high tech. Building with examples in biology and applying sophisticated mathematics, computer software and good old fashion imagination it looks like any structure can be folded and practical applications are everywhere.

The Man Booker Prize is the world’s most distinguished literary award for English fiction. Its winners instantly acquire a level of fame and wealth which most writers could only dream of.
To commemorate its 50th birthday, this documentary looks back over the six decades of the prize, exploring how from humble beginnings the Booker quickly went on to revolutionise the sleepy world of literary fiction and become a central part of British cultural life.
We hear the inside story of scandal, gossip and intrigue from a host of former winners, judges and prize administrators. Over the years the prize has changed its rules, its sponsors and its name. But it’s never lost sight of its core purpose: to stimulate debate and encourage the reading of literary fiction. This is a tale of bruised egos, bickering judges, and most importantly of all of - countless brilliant books.
Contributors include Booker winning authors Peter Carey, Penelope Lively and John Banville.

杜甫仁科的遗作，一部成功的人物传记电影，描述了苏联著名的植物育种家米丘林的生平。米丘林提出生物学的基本原则是主物体与生活条件的统一，在果树培育方面做出了杰出的贡献。他认为生物对生活条件有高度选择性，而生活条件对生物的发育和遗传变异则起主导作用。
影片真实地还原了米丘林奉献的一生，导演所拿手的蒙太奇处理也有不错的表现力，当然电影带有厚重的红色题材味道，有高大全的脸谱化，但在那个年代里确实产生过很大的震撼力。在国内上映时，就曾经鼓舞了不少立志投身植物研究的热血青年，与《乡村女教师》的政治教育功能类似。上影厂的配音也是经典，其中邱岳峰的声音更让人十分难忘。

Two-part documentary which deals with two of the deepest questions there are - what is everything, and what is nothing?
In two epic, surreal and mind-expanding films, Professor Jim Al-Khalili searches for an answer to these questions as he explores the true size and shape of the universe and delves into the amazing science behind apparent nothingness.
The first part, Everything, sees Professor Al-Khalili set out to discover what the universe might actually look like. The journey takes him from the distant past to the boundaries of the known universe. Along the way he charts the remarkable stories of the men and women who discovered the truth about the cosmos and investigates how our understanding of space has been shaped by both mathematics and astronomy.
The second part, Nothing, explores science at the very limits of human perception, where we now understand the deepest mysteries of the universe lie. Jim sets out to answer one very simple question - what is nothing? His journey ends with perhaps the most profound insight about reality that humanity has ever made. Everything came from nothing. The quantum world of the super-small shaped the vast universe we inhabit today, and Jim can prove it.

船板上健身、餐廳裡跳康加舞、與船長合影、不分齡選美大賽⋯⋯豪華遊艇 上什麼都有什麼都不奇怪。魏斯安德森般精確對稱到超現實的構圖，描寫豪 華遊艇上的種種奢糜奇觀，道出消費主義至上的荒謬社會。

该片改编自迪伦1975年至1976年的《奔雷秀》巡演，片中将包括迪伦本人的幕前采访。本片被描述为捕捉到了1975年陷入困境的美国精神以及迪伦在那年秋天演奏的欢乐音乐。据悉本片不会以传统纪录片的形式展开叙述。

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David Barison 和Daniel Ross拍的一部长达189分钟的纪录片(2004)。Barison生于1972年，澳大利亚墨尔本大学读哲学。Ross是Barison的校友，最初学物理，后来碰到Barison转哲学。因为热衷于海德格尔的警句，想让人们知道海德格尔的理论今天并不过时。So, 他俩03年买了一部DV，从伦敦出发，顺着Danube河流，拍下了这部 公路哲学片子。先八卦这么多，同时承诺，不主动谈电影结构，不拒绝谈获奖情况，对于叙述部分的正误不负任何责任, 接着看：
The Ister是德国诗人Holderlin未完成的一部诗的标题，背景是Danube river。诗的开头是这样的：Now come fire! / Eager are we / to see the day。猜对了，电影也是这样开始的。第一个问题是：荷尔德林是谁。反正最后疯了。第二个问题是：荷尔德林同海德格尔什么关系。我读前者不读后者，所以只能简单的说，海德格尔在1942年开讲座，探讨诗歌的意义，技术的自然性，古希腊同德国当年的联系，政治和生存的本质，正好荷尔德林的《The Ister》正好可以满足海德格尔。
本片子逐句拆开这首诗，穿插进一些当代哲学家随意的观点。当然，不同地点的画面必不可少，最后是海德格尔朗诵这首The Ister, 最后的结尾，同开头一样，一只鸭子向前消失。我的简介这么多已经足够。OK, 接着八卦：片子中找到了三位哲学家，Bernard Stiegler，写过《时间和技术》，当然法国5月革命时做过几年牢。海德格尔的拥趸，同时推进老海的主题。提出Spirit, 片子的后面德国导演Hans-Jurgen Sybergberg有顶他的戏。
Jean-Luc Nancy, 探讨政治和意识形态。10分钟年华老去 里面，他在火车上向他的女学生讲人生的那个人，仔细想想。Philippe Lacoue-Labarthe：因为瞧不起海德格尔当年加入纳粹，同时拒绝道歉。出版过《艺术和政治》，搞政治的不是什么好鸟。不过他是个烟鬼，这点让我有认同感。 他还提到Paul Celane的一首诗，忘记了是那首，兴奋了一下。
Hans-Jurgen Sybergberg老帅哥出场，问，岂不机器也有精神 (spirit)？或许有，但肯定不是那种装在马桶里面，看女人在上面做什么的摄像机。
这些主题很大，探讨自然，技术，时间，存在，政治等等。最绝望的是Stiegler说了这样一句：什么是自然？自然已经沦为一种幻觉（in our time, Nature has become a phantasm）。这样的观点，虽然不怎么淫荡，但是够贱，够贱。
自然真的就是一种幻觉么？那么第一就是高呼原始社会好的艺术家，第二就是工业社会里快乐的淫荡的艺术家。可能还有其他。
电影叙述着当年，也混同当年的记忆，纪录着现在。生活真的可以叙述么？现在 真的就可以记录么？于是怀念那些以最拙劣的步子走着路的人。
这部纪录片帮我整理了一下自己的视角，但是很多难言之隐依然无法洗去，当然也并不幻想这种哲学方式带给我终极的对话。其实，属于自己体内的战争，还要继续扛下去。不过总有一天，这些终究消失，仅仅为自己生存的第二天而战(Tom Waits)。
的确，“我看到的你不过是我自己”。纪录片的故事讲完了，然后呢，刷卡，等地铁，上车，走人。

Examined Life pulls philosophy out of academic journals and classrooms, and puts it back on the streets. Offering privileged moments with great thinkers from fields ranging from moral philosophy to cultural theory, Examined Life reveals philosophy's power to transform the way we see the world around us and imagine our place in it.

ŽIŽEK! trails the thinker as he crisscrosses the globe, racing from New York City lecture halls, through the streets of Buenos Aires, and even stopping at home in Ljubljana, Slovenia. All the while Žižek obsessively reveals the invisible workings of ideology through his unique blend of Lacanian psychoanalysis, Marxism, and critique of pop culture.

四十分钟的纪录片短片《走进约翰·凯泽尔》（I Knew It Was You：Rediscovering John Cazale）于4月26日下午在美国马萨诸塞州萨默维尔市影院放映。
约翰·凯泽尔是意裔美国人，他的一生中只塑造过五个角色，但个个都被影迷们奉为经典。在他出演电影之前，已经凭舞台剧《印第安人想要布朗克斯》(TheIndianWantstheBronx)赢得多项大奖。凯泽尔与阿尔·帕西诺是老朋友，所以在阿尔有机会出演弗朗西斯·福特·科波拉的《教父》时，凯泽尔也受邀出演片中的弗雷多。在《教父II》中他继续扮演了这个人物，并成为他个人表演生涯中的一个最为知名的角色。
1974年凯泽尔同吉恩·哈克曼及哈里森·福特合作了惊悚片《窃听大阴谋》，在片中他扮演哈克曼的助手斯坦。此片也是科波拉执导的。凯泽尔的第四个角色是在影片《热天午后》中的银行劫匪萨尔，此片为他赢得了当年金球奖最佳男配角的提名。
凯泽尔的最后一部电影《猎鹿人》是与梅丽尔·斯特里普合作的，影片拍摄时凯泽尔已经身患癌症。在拍摄过程中他与斯特里普相互吸引并订婚。导演迈克尔·西米诺在得知凯泽尔的病情之后，决定把凯泽尔的戏分先拍完。后来剧组发现他得了骨癌，想让他退出剧组时，斯特里普表示如果凯泽尔退出，她也将辞演。影片拍摄完成后不久凯泽尔即与世长辞。
约翰·凯泽尔参演作品列表：
《猎鹿人》(The Deer Hunter)(1978)
《热天午后》(Dog Day Afternoon)(1975)
《窃听大阴谋》(The Conversation)(1974)
《教父2》(The Godfather：PartII)(1974)
《教父》(The Godfather)(1972)
制作人动机：很多影迷对《教父》电影中的明星都已耳熟能详，然而提到扮演弗雷多的演员时，人们脑海中常常一片空白。这部纪录片则详细介绍了这位英年早逝的意大利裔明星：约翰·凯泽尔。
Admired by actors and directors, adored by friends and lovers, yet unknown to most movie-goers, the venerable stage and screen actor John Cazale appeared in some of the most iconic films of the 1970's - Francis Ford Coppola's The Godfather, The Godfather: Part II and The Conversation, Sidney Lumet's Dog Day Afternoon and Michael Cimino's The Deer Hunter. The critically-lauded films collectively earned 40 Oscar nominations, including 14 for Cazale's co-stars, and raked in millions at the box office.
In 1978, just after wrapping The Deer Hunter, Cazale died tragically at age 42 and cinema was robbed of one its brightest. In I Knew It Was You, director Richard Shepard talks with Cazale's co-stars and friends, Al Pacino, Meryl Streep, Robert DeNiro, Francis Ford Coppola, Israel Horovitz, Phillip Seymor Hoffman, Steve Buscemi and Sam Rockwell, and paints a loving tribute to a talent taken too soon.
John Cazale's resume as a film actor isn't long, but it's distinguished. Cazale appeared in five feature films, and each one received an Academy Award nomination for Best Picture, while three of them -- The Godfather, The Godfather Part II and The Deer Hunter -- won the category. Al Pacino, who made three films with Cazale, considered him one his finest acting partners, and many film buffs cite Cazale as one of the best actors of his generation. But Cazale was thirty-seven years old before making his film debut after distinguishing himself in the New York theater community, and shortly after completing work on The Deer Hunter, cancer claimed his life in the spring of 1978. I Knew It Was You: Rediscovering John Cazale is a short documentary celebrating the life and art of Cazale, featuring clips from his memorable performances and interviews with friends, colleagues and fans, including Meryl Streep (who was also Cazale's wife), Al Pacino, Robert De Niro, Gene Hackman, Francis Ford Coppola, Sidney Lumet, Steve
Buscemi, Philip Seymour Hoffman and many others. I Knew It Was You was an official selection at the 2009 Sundance Film Festival.

日本电影频道将播出是枝裕和导演与奉俊昊导演的特辑。10月12日晚9点将播出《特集：是枝裕和×奉俊昊》。
奉俊昊导演的最新作品《寄生虫》（2020年1月日本上映）荣获第72届戛纳国际电影节最高奖金棕榈奖。恰逢韩国电影诞生100周年，值此周年纪念日之际，这部电影取得了傲人的成绩——韩国电影史上第一个金棕榈奖。在第71届电影节上，电影《真实》（10月11日上映）的导演是枝执导的《小偷家族》也获得该奖项，即东亚国家连续2年荣获金棕榈奖。
日韩、亚洲乃至全世界都在热切地期盼两位导演的新作，而今，在日本电影频道独家播出的《从日韩开始 讲述“家族” 是枝裕和×奉俊昊》这一节目上，他们终于完成了时隔2年的会面。

导演保罗·托马斯·安德森完成一部纪录片《Junun》。今年早些时候，PTA和他的好友吉他手约翰尼·格林伍德，前往印度贾斯坦邦的Mehrangarh城堡，拍摄纪录以色列作曲家Shye Ben Tzur与当地的杰出音乐家们一起制作音乐专辑的过程，音乐与艺术相互碰撞激发灵感。《Junun》将于十月的纽约电影节首映。