Wide ranging BBC arts programme.

烈焰熔岩，一幅幅煉獄似的末世奇觀，景象震撼。拍罷《蘇弗里耶火山》（1976）後，荷索對火山的熱情越燒越旺，遇上同是狂迷的火山學家奧本海默，一拍即合並肩走訪印尼、冰島、埃塞俄比亞等地，看熔漿爆發的原始威力，更看人心依附的信仰神靈。科學助人避災，卻難阻人着魔。瓦努阿圖村民相信熔岩是惡魔發怒的表徵；日惹王獻祭祈求海洋女神與火山鬼神和諧共處；地主建造雞教堂朝向火山祈禱；村民信奉住近火山的美國大兵有日會帶來西方家電；背靠革命聖山的偉大領導人金正日，更令朝鮮人民瘋狂膜拜。火山，令人聯想到文明某日或會灰飛煙滅。其毀滅性的美麗，有如愛情，越危險，越教人着迷至不能自拔。

春耕、夏耘、秋收、冬藏，天人合一的东方哲学让中国饮食依时而变，智慧灵动，中医营养摄生学说创造了食材运用的新天地，儒家人伦道德则把心意和家的味道端上我们的餐桌。淘洗历史，糅合时光，一代又一代的中国人在天地间升起烟火，用至精至诚的心意烹制食物，一餐一食之间，中国人展示个性，确认归属，构建文明，理解和把握着世界的奥妙。中国饮食生长于传统文化的沃土，在宽广的时空中，以感恩之心去领悟食物给予我们珍贵的滋养，《舌尖上的中国》第三季继续近观饮食之美，远眺中华文化的魂魄。

BBC最新纪录片，一个家族，40种不同面孔！将有非洲狮、虎、美洲豹、金钱豹、猎豹、云豹、雪豹、美洲狮、猞猁、豹猫、虎猫、渔猫、黑足猫、兔狲、薮猫、沙漠猫…等等很多野生猫科动物纷纷出镜

North Korea, a country of 22 million. Up to 3 million of its’ people have starved to death in the last 10 years. More than 40% of North Korean children now suffer from chronic malnutrition. Children of the Secret State is an investigation into North Korea, considered by many as the last Stalinist dictatorship, a hidden and sealed country riddled with propaganda and saturated with hostility to democracy and the West. Joe Layburn and the Hardcash team discovered a young North Korean, known by the pseudonym Ahn Chol, who has been filming undercover so that the world can see what is going on in his native land: the country where his parents both starved to death.
His devastating footage shows some of the estimated 200,000 street children, mainly orphans, foraging for food in the mud and the gutters, ignored by the adults around them and ignored by the state which claims they are at its bosom.

英国Eels乐队的一名歌手Mark Oliver Everett将为你讲述他的天才父亲的传奇悲剧人生和神奇经历。他的父亲曾在24岁发表了一篇"多重世界"的物理论文，震惊了全世界，但物理学界并不买账，他的父亲只能放弃了量子物理学。现在这件事被认为是物理学界最严重的悲剧之一，他的理论如此超前以至于当时的人无法理解，50年后的今天人们才证明了他的理论...
Singer Mark Oliver Everett - E from the Eels - explains why he made a film about his brilliant, tragic father
Shortly after my father died the phone started ringing. My father was Hugh Everett III. When he was 24 he wrote a ground-breaking thesis about physics most commonly known as "the many worlds theory". It challenged the accepted notion of how the world works in such a huge way, stating that there were actually countless versions of ourselves splitting off and going through as many different scenarios as you could imagine, and the physics powers that be (Albert Einstein, Niels Bohr) were having none of this. They weren't about to let a 24-year-old knock their faces off the Mount Rushmore of physics. Getting no encouragement, my father gave up on quantum physics.
It's now considered to be one of the greatest tragedies in physics that my father wasn't taken seriously. He was so ahead of his time that there weren't even ways to prove his theory mathematically, but now, 50 years later, there are. And it checks out quite well.
I knew this day was coming ever since the phone started ringing in 1982. It was always some "physics groupie" asking for my mother so they could grill her for information about my father. And, as time went on and technology caught up with him, the interest kept mounting.
I'm a singer and songwriter in a rock band called Eels. I never knew much about physics and my father was a complete mystery to me, even though I lived in the same house with him for 18 or 19 years. He rarely spoke. He was an ever-present lump of flesh sitting at the dining room table every night writing out crazy calculations on a pad of paper. That's about all I saw of him.
When the BBC asked if I was interested in making a film, I jumped at the chance. I have tended to deal with my family by making them into little art projects. I made an album in 1998 called Electro-shock Blues that dealt extensively with my sister's and mother's deaths. While my sister's suicide note did indeed contain a passage about going off to meet our father in a parallel universe, I hadn't made anything that dealt with my father the way I had dealt with the rest of my family, and this was the way I liked to do it: make something that is therapeutic for me personally that, hopefully, can offer something for the rest of the world.
The idea made me both excited and uncomfortable. And the uncomfortable part was what made me know it was something I'd have to do. I didn't like the idea of opening up that world of pain and going back to Virginia and Washington DC, places where I can smell the dread in the air because of all the painful memories. But to get the chance to hang out with my father's college roommates, who are all still alive, friends and coworkers, was too interesting for me not to go through with. I knew I was going to learn a lot about both physics and my father. And I did.
The first few days of shooting were awkward and I felt pretty uptight. Then one day while I was being interviewed on camera about some painful experience, I heard Louise [Lockwood], the director, softly click her mouth and whisper, "Aw, E..." Suddenly I thought: "These people actually care about me." I then relaxed and probably started saying all sorts of things I would have been too guarded about before.
I was struck by what a tragedy my father's life was. He has contributed something huge to the world, but for him it was painful. How would you like to come up with something so mind-blowing about how the world works, confident that you knew it was true, but have no one support your view? It must have been the loneliest life, being the smartest guy in the room, just having to shut up and keep your thoughts to yourself while the regular chimps all chat away. I was determined to help to give him the day in the sun he never got when he was alive.
I spent a week at Princeton learning about physics and hanging out with my father's old friends. I did not inherit my father's gift for mathematics, and can barely calculate the tip after dinner, so it was a real challenge for me to be standing in front of blackboards learning about quantum physics. But I came to have a pretty good understanding of my father's theory. In Virginia I met some of my father's coworkers and even went inside the Pentagon (who knew security was so lax?).
It was a very difficult process for me, but when it was over I felt really glad that I had done it. It's not easy going back to a place you really don't want to go back to and opening boxes of memories. Particularly with a film crew following you, trying to make you cry ("How does that make you feel, E?"). I'd be really glad if I had a son do something like this for me some day, so I'd like to think that my dad is smiling down from some parallel universe and saying, "thanks".

《极地》是由曾海若监制，程工导演，杨烁配音，北京五星传奇和天成嘉华倾情打造，中国非物质文化遗产保护中心、乐视视频、哔哩哔哩、啊树文化等联合摄制出品的大型西藏人文纪录片。
《极地》运用了电影般诗意的叙事语言，从普通人的爱与感情出发，展现了西藏人的生活日常。既考察极端环境下的生存智慧，也呈现普通人的生活，既探究古老文化的精髓，也记录西藏的当下。在展现广阔高原壮美自然风光中，捕捉人们日常生活的种种细节，展现出一幅史诗般的高原生活图卷。

詹姆斯·弗兰科从去年起就计划将邪典电影《房间》的拍摄过程搬上银幕，近日该片不仅确定了片名《灾难艺术家》(The Disaster Artist)，还找来了以投拍发行恐怖电影为主的新线影业做接盘侠。
2003年上映的《房间》是托米·韦素自编自导自演的一部邪典电影，该片被很多人视作最烂电影之一。不过，影片完全烂出了风格与境界，甚至被称为“烂片界的《公民凯恩》”。影片基本上就是围绕着托米·韦素饰演的主人公与他的未婚妻以及最好朋友之间的三角恋情展开，无论是演员的渣演技、剧情的神转折还是毫无美感的运镜都让人印象深刻。2013年，参演《房间》的演员之一格雷·戈泽斯特洛和汤姆·比塞尔联合出版了《灾难艺术家》，回顾了该片的拍摄过程。戈泽斯特洛在书中写到，托米·韦素在开拍此片时完全没有任何电影制作经验。
弗兰兰在担任该片导演的同时，还会出演托米·韦素，他的弟弟戴夫·弗兰科则会出演格雷·戈泽斯特洛。弗兰兰的好基友塞斯·罗根在担任影片制片的同时还在协商加盟演出，另外担任制片的还包括埃文·戈登伯格、Vince Jolivette以及弗兰兰自己。小清新爱情片《星运里的错》和《好景当前》的编剧斯考特·诺伊施塔特和迈克尔·H·韦伯已为影片执笔剧本。影片定于今年12月7日开拍。

这部纪录片的编剧、导演和旁白均由沃纳·赫尔佐格（Werner Herzog）来担当，记录了他与剧组前往南极洲拍摄当地生物、居民以及独特地理风貌的历程。这部纪录片并不是一部关于南极著名的企鹅的影片，而是去探索南极的人类生活，以及壮丽神奇的南极洲美景。他们前往由美国国家科学 基金会南极计划部门运作的南极洲最大的科学研究中心——位于罗斯岛的麦克默多站进行拍摄，在当地采访了一些在作业、后勤、IT和维护等方面提供支援的成员后，他们陆续前往海豹基地、潜水营地等南极洲人类扎营的地点，沿途遇到很多有意思的人，做了很多包括细胞生物学家塞缪尔·宝泽（Samuel Bowser）、动物学家占·保罗斯基（Jan Pawlowski）、企鹅研究学者大卫·安利（David Ainley）等在内的简短访谈。在某种程度上，他们拍摄探索的并不在于展现科研领域，而在向大众揭示一种独特的生命体验。
本片提名2009年第81届奥斯卡最佳纪录片奖。

《中国梵高》讲述世界最大的油画复制工厂 - 深圳大芬油画村的农民画工，在多年复制西方经典油画之后，如何面对现实、对面自我、道德、艺术追求的多重选择。 《中国梵高》记录了大芬画工转型的路途中所遇到的困难、挣扎，绝望与希望，个人理想与现实生活的碰撞与妥协。大芬画工的转型同时映射了21世纪中国从“中国制造”到“中国创造” 转型中的复杂与矛盾，也批判了当代主流艺术圈的排他性，和社会赋予艺术价值的荒诞性。

A group of elite conflict photographers have banded together under the photo agency, VII, in an effort to uncover the true meaning of the Iraq War.
In the wake of September 11, the VII agency was formed by award-winning veteran photographer James Nachtwey and colleagues, and has since covered the site at Ground Zero, the invasion of Afghanistan and the Iraq War since America plunged headlong into its “War Against Terror. ” For Nachtwey, the accumulated experience of nearly a quarter century of war photography began crystallizing into a vision centered around Ground Zero. Come with us as we discover what this vision was, delve into respective war photographers’ thoughts and actions in the heat of battle, as well as how the face of war has changed since 9/11.

中南医院妇产科，形形色色的故事上演从没有停过，5万块钱能救一大两小三条人命，手里只有5千元的丈夫，借钱、贷款、抵押房产此时都行不通，“拯救小凤之女”变得不可能完成；李家福——“拆弹部队”首领，面对夏锦菊保住子宫的请求，露出艰难而犹豫的眼神。心脏两次停跳，换血2万毫升，他如何剪断“炸弹”上的红蓝线，她又能否在“鬼门关”前转身？命悬一线之际，“生死时速”让人目不转睛。年轻妈妈李双双腹中的胎儿，引产似乎已被当地优生科判定，李家福团队却提出实施刨宫产，抢救微弱的性命。救，可能倾家荡产，一生背负沉重的负担；不救，可自己的骨肉，如何走上内心的审判厅。年轻的爸爸该如何踏上这段产房的“釜山行”。

随着工业文明的高度发展，各种各样的食物也变得供不应求，但在这看似繁华的背后，食品安全却已到了不容忽视的地步。影片从快餐业入手，逐步向种植业、畜牧业、养殖业延展开去，揭露了大型食品公司经营者为了获取高额利润不惜改变动植物的生长方式和生长周期，他们在经营上取得丰厚的利润，而代价却是公众的健康和安全。在看似清洁的食品加工流水线上，沙门氏菌和希氏大肠杆菌毫无阻碍渗透到食物当中，毒害着人类的生命。由于政策等方面原因，人们无法也无力拒绝大公司强加于身的迫害。在金钱和欲望面前，我们自取灭亡……
本片荣获2009年华盛顿影评人协会最佳纪录片奖。

以一首「Get Lucky」红遍全球的法国电音天团「傻瓜庞克」，成军20年来却极少公开露面，尔后更彻底以机器人形象现身活动。法国导演赫威马丁戴皮耶的纪录片《傻瓜庞克：谁是傻瓜》，邀请到肯伊威斯特、「菲董」菲瑞威廉斯等大牌巨星，横跨法英美三国的音乐製作人、乐评及音乐录影带导演现身说法，探索傻瓜庞克的创作历程，如何将向来由英美领导的流行音乐带向新纪元。

《北京的星期天》是1956年上映的法国纪录短片，由克里斯·马克执导。
《北京的星期天》讲述了社会主义改造刚完成后的北京面貌，将时空浓缩到一天中，多角度地展现了共和国诞生之初首都北京的朝气蓬勃的面貌。
更多外文片名： Sunday in Peking.....(undefined)
导演： 克利斯·马克 Chris Marker ....克里斯·马克
编剧： 克利斯·马克 Chris Marker
主演： Gilles Quéant ....Récitant/Narrator (voice)
摄影 Cinematography：克利斯·马克Chris Marker
影片类型： 短片 / 纪录片
片长：USA:22 分钟
国家/地区： 法国
摄影 Cinematography：克利斯·马克 Chris Marker
上映：1956年
《北京的星期天》是才华横溢的导演克里斯·马克于1956年制作的纪录短片。影片在20分钟的篇幅里，将时空浓缩到一天中，多角度地展现了共和国诞生之初首都北京的朝气蓬勃的面貌。
《堤》、《美好的五月》的导演克利斯·马克于1956年到中国就拍摄拍摄短片《北京的星期天》。影片拍摄了社会主义改造刚完成后的北京面貌：街头处处可见老式的人力车，也出现了一些自行车，民众的体育健身气氛相当浓厚，老人击剑打太极，小伙子和小姑娘玩单杠和高低杠，小孩子们认真地做着气象分析实验，偶尔还能看到街头卖艺的人，舞刀弄枪一字步，洋洋精通；亭榭楼台等古建筑，中国水墨山水画，京戏木偶戏，还有盛大的集体演出，出游的人们闲情逸致地泛舟湖面，无论是传统文化还是民众生活角度，都给导演留下了深刻的印象。或许老北京们看到此片会发出无限的感慨，新中国的首都那个时候就是这个样子，而我们年轻一代看了又会有怎样的感受呢？
导演在片中许多地方都加了中文注释，虽然有些地方用法古怪，简繁结合，但大致意思还是知道的。特别是片尾标志"Fin"也被翻译成了“在”，可能是通“再见”的“再”吧。
才华横溢的导演克里斯·马克
才华横溢的导演克里斯·马克
街道上老式的人力车和马车，天桥耍着大刀的艺人，天真活泼的孩子以及热闹的国庆游行，这些镜头是那个年代的珍贵历史写照。影片的中文顾问是被誉为“新浪潮祖母”的法国著名导演阿涅斯·瓦尔达。充满浓郁中国情调的北京传统文化和人们的日常生活给这两位大师留下了深刻的印象，而这一切都反映在影片《北京的星期天》之中。

Shot by movie maestro Peter Whitehead,this film features rare full length performances from the classic late 60's Pink Floyd line-up at Sound Techniques London & material from the legendary '14 hour Technicolor Dream' extravaganza in April '67 at Alexandra Palace. The footage includes performance art by Yoko Ono and a Sgt. Pepper era John Lennon taking in the festivities(John and Yoko had not met then)

《天梯：蔡国强的艺术》是当今世界最重要艺术家之一蔡国强的首部电影纪录片。既是一个从中国出发、成为具国际影响力艺术家的励志故事，也体现着新时代中国人的追求和精神。
本片由奥斯卡金奖导演凯文·麦克唐纳（Kevin Macdonald）耗时两年，从纽约、布宜诺斯艾利斯、上海、北京、浏阳到家乡泉州，遍访艺术家的工作现场及其亲友、工作伙伴和专家，无限度深入蔡国强的工作和生活，并从数千小时的珍贵历史影像素材撷取精华，讲述蔡国强 80 年代从泉州出发，30 年来在五大洲不同文化间成长，并走向国际舞台成为享誉全球的爆破艺术家。纪录片中也揭露他壮观艺术背后的另一个真实—内心的脆弱、挣扎、妥协，和对家人、故乡、祖国土地深厚内敛的家国情怀。
影片主线《天梯》—— 一座500米高的金色焰火梯子嘶吼着拔地而起，与无垠宇宙对话。这是蔡国强少年时代仰望天空、摸云摘星的梦想，二十多年来在世界不同地方屡试屡败，却从未放弃。2015年6月黎明，泉州小渔村惠屿岛海边，在国内技术专家和当地数百村民的帮助和见证下，他再次一搏，把《天梯》作为献给百岁奶奶和家乡的礼物……

终南山，一个在中国人心中有着无比神圣之感的地方，自古他便是仙家独享其乐的安逸场所，也是隐士出世寻求解脱的暂时归宿。即便到了今天，现代化的触角几乎触及到了这个世界上每一个角落，可是终南山依旧以虚怀若谷的慈悲接纳着来自四面八方的隐士。
在非典盛行的那一年，一张外国人的面孔出现在终南山的脚下。他叫Edward A. Burger，《空谷幽兰》一书让他心有所动，于是背上行囊来到了这个隐士们云集的圣地，试图去了解为什么在当今飞速发展的社会里，有的人竟会如此甘于寂寞，去展开漫长而充满艰辛的精神之旅。在他的镜头前，一张张隐士的面孔浮现出来，与你我坐看云起……

片中绫濑遥来到了位于日本广岛县的大久野岛，为了探寻这座曾经一度消失在日本地图上的神秘岛屿的历史，她采访了91岁高龄的藤本安马先生。作为当时在毒气岛上参与毒气制造的少年兵，老人说出了让人震惊的事实，“制造毒气的目的是为赢得中国侵略战争的胜利，原本人们是为了生存而学习，而我并不是为了生存而去学习，是为了杀死中国人而制造毒气，这就是所谓的犯罪者。杀害了中国人这一事实是不能被扭曲的，扭曲成是英雄行为更是不能够。”

一部深入世界上伟大博物馆之一——伦敦的国家美术馆的纪录片。