大约七十年前，数千人在此失去性命。如今，如同其他的许多参观景点一样，身着短衣短裤的男女来到这里，带着墨镜，扛着摄像机或拎着自拍杆，以便停留,驻留,滞留,逗留几幅纪念照。与此同时，操着不同语言的导游向他们重述这里的历史——影片《奥斯特里茨》以对比强烈的黑白影像和固定长镜拍摄达豪和萨克森豪森集中营的游客，然而，人们应该如何面临,直面,应对,应付承载着这般往事的遗址？集中营能成为大众旅游的对象吗？（小易甫字幕组）

　　这部摇滚纪录片叙述,阐述,陈述,描写了列入“摇滚名人堂”的芝加哥乐队的幕后故事，涵盖从出道时摇滚爵士融合曲风到榜首流行热单的演变。

　　"Once upon a time, before people came along, all the creatures were free and able to be with one another", narrates the voiceover. "All the animals danced together and were immeasurably happy. There was only one who wasn't invited to the celebration - the frog. In his rage about the injustice, he committed suicide." Something Romani and frogs have in common is that they will never be unseen, or stay unnoticed. In her film, young director Leonor Teles weaves the life circumstance of Romani in Portugal today with the recollections of a yesterday. Anything but a passive observer, Teles consciously decides to participate and take up position. As a third pillar, she establishes an active applied performance art that becomes integrated in the cinematic narrative. Thereby transforming "once upon a time" into "there is". "Afterwards, nothing will be as it was and the melody of life will have changed", explains a voice off-camera.

　　追溯可口可乐和百事可乐之间的长期激烈的竞争，近百年来，可口可乐一直是全球价值数十亿美元的碳酸饮料行业无可争议的领军人物，而百事可乐紧随其后，永远拿着尖端的广告来挖苦它的老大哥...

　　柏林常以一种富裕,富足,殷实,丰裕亚文化的形象示人，西柏林的酷儿文化则是其中的重要一面。这里不仅有活跃的派对文化、性别的多样性，更产生了种独具特色的俱乐部。此外，同性恋博物馆、艾滋病援助组织和柏林电影节泰迪熊奖等各类与之相关的组织和活动纷纷在此建立阵地。事实上，酷儿文化在柏林的诞生与发展 并不顺利：1969年之前，同性恋会被政府抓捕和定罪。但西柏林的同志群体依然顽强存活，把这座城市发展成属于同志群体的大都市。七十年代末，西柏林迎来性自由、政治自由和社会融合的高潮时代；但辉煌之下，侵袭全球的艾滋病也让酷儿文化蒙上一层阴影。
　　该片将镜头对准西柏林的同志群体，记录他们从二战后到柏林墙倒塌前的日常,生存,生计,日子。包括政治活动家、俱乐部经营者、音乐家、时装设计师等各类群体刻画,描摹,勾勒,描述了种种历史事件的生动场面。影片同时也公开了罕见档案材料，带领观众穿越时空，领略西柏林的历史与文化魅力。（小易甫字幕组）

　　Examine the violent battle between a ranching family in the West and the federal government. See how a fight over land became deadly, invigorated a wider right-wing anti-government movement and continues to challenge prosecutors and law enforcement.
　　西方农场家庭和联邦政府之间的暴力冲突。一场争夺土地的斗争是如何变得致命的，如何激发了更广泛的右翼反政府运动，并持续,延续,存续,连续挑战检察官和执法部门。

       水能载舟，亦能覆舟。2008金融海啸之后，全美视引入中资为救市良方。透过反收购美国公司，中资企业如洪流涌进山姆叔叔的金融市场，有人额手称庆，有人看出隐忧。转眼十年快过，积罗夫斯坦遍访华尔街，他的镜头下有大鳄，也有机会主义者，更有注定懊悔,悔恨,悔意,缺憾,憾事,缺陷,瑕疵出镜的业界「消息灵通人士」，进退之间几乎拍成了一齣恐怖片—到处是街客想像不到的秘密交易、巧取豪夺。如果这「故事」有教训，大抵是：知难而退简直是天方夜谭， 失手的下次只会来得更狠更卑鄙。

　　真实无滤镜，走进澳大利亚女子橄榄球联盟球员及拳击手泰拉·哈里斯的日常,生存,生计,日子，跟随她面临,直面,应对,应付来自公众和个人的挑战，并借助平台发挥善意,良善,仁慈,慈善能量。

　　委内瑞拉马拉开波湖社区是一个坐落在水上的村落，当地民众正在为议会选举做准备。对于街头女商人和查韦斯特党代表塔玛拉来说，每一张投票都很重要，必须用尽一切办法去拉票。而对于支援,扶持,拥护,维护反对派的教师纳塔莉，政治是企图迫使她辞职的原因。小尤阿尼有着敏锐的眼神，看到载满她纯真童年的社区正因污染而变得萎靡。一个小渔村正在没落，人们究竟能否过上他们想要的日常,生存,生计,日子？

　　每个人都有一个独特的爸爸,父亲大人,爹爹,老父亲故事。 无论是积极的还是痛苦的，它总是个人的，可以深刻地影响我们的身份和日常,生存,生计,日子方向的核心。 肯德里克兄弟的《爸爸,父亲大人,爹爹,老父亲》是 WAR ROOM、OVERCOMER、FIREPROOF 和 COURAGEOUS 创作者的第一部纪录片。 这部引人入胜的 电影以各种令人惊叹的真实故事为特色，带领所有年龄段的观众踏上一段鼓舞人心且感人至深的电影之旅。 为爸爸,父亲大人,爹爹,老父亲在当今社会中的角色提供全新的视角，向我展示爸爸,父亲大人,爹爹,老父亲邀请您以不同的方式思索,沉思,思量,思虑您如何看待您在世上的爸爸,父亲大人,爹爹,老父亲以及您个人与上帝的关系。

　　《盲国萨满》是一部神话史诗纪录片，片中记叙了一个尼泊尔西北部边远地区的宗教治疗。为记录当地宗教习俗的基本特征，电影跟踪拍摄的时间超过十八个月。在宗教精神上，该特征见于北亚的西伯利亚地区和广大喜马拉雅地区，与大内亚地区典型萨满教传统的多种形式一脉相通。

　　A documentary on the history of garlic. Blank interviews chefs, garlic lovers, and historians about the their love of the 'stinking rose.'
　　Often referred to as a stinking rose, garlic, in its culinary uses, generally evokes a love it or hate it response. Quite often, these responses are on cultural lines, where old world cultures have generally revered it in their cooking, while new world cultures have not. A renaissance of sorts is taking place in the use of garlic in the United States, with more and more immigrants bringing their use of the spice to the country, with more people desiring more spice in their food, with a desire to get back to the land and with the production of plant a large part of the Central California landscape. Many chefs are presented preparing dishes prominently featuring the spice. On the bad side, the association of garlic to bad breath is discussed. On the other side, its purported health benefits are also discussed. Other topics presented include its association to vampirism, and speculation of how people will want their garlic to be presented to them in the future.

　　本片是2013年逝世的、美国影评界传奇罗杰·伊伯特的遗作。片子主要谈论了上世纪60年代罗杰·伊伯特与电影制作人好友罗斯·梅尔一起合作《飞越美人谷》时期的个人历史。不仅如此，最重要的是影片真实呈现了伊伯特本人：他对电影事业的激情、对日常,生存,生计,日子的热爱以及与疾病的悲壮抗争。

八十岁的阿涅斯·瓦尔达，在生日之际以《爱格尼斯的海滩》这部充满温情的幽默佳片为自己庆寿，实在是电影史上的一段佳话。影片利用重构的手法，她与丈夫德米电影中的一些片断来重现这位导演一生中的的重大事件。影片探讨的是人性，而非电影。观众可以看到，丈夫德米去世之前，阿涅斯一直过着无忧无虑的日常,生存,生计,日子。

The doc, which is being produced by Two Rivers Media, will feature an interview with Lasker-Wallfisch, revealing how, despite living in the most brutal and dehumanizing of situations, prisoners were secretly composing music whilst in the camps.

　　第一集 玻利维亚
　　第二集 哥伦比亚
　　第三集 菲律宾
　　本季持续,延续,存续,连续聚焦每天走在惊心动魄，生死难料的上学路上的孩子们，聚焦他们为了实现梦想而每天踏上世界最危险的上学路。

　　卡妮和马特在约会软件上相识,明白,明了,知晓,理解,认知,懂得，他俩当时谁也不知道新冠肺炎会把二人一时兴起的哥斯达黎加之旅变成一场历时数月的冒险。

In 2019, artist Sam Cox bought a mansion in the English countryside. Stripping it bare and painting all the walls white, he then spent two years covering every inch of it with black marker doodles—whimsical, surreal scribbles dubbed “Spaghetti Graffiti.” A stop-motion film capturing this endeavor propelled “Mr. Doodle” to global fame. What began as a total and imaginative artistic vision spirals into a breakdown, forcing a battle between his artistic passion and his mental health. As his loved ones grow concerned for his health, Sam remains resolute, and the film, deftly maneuvering between untamed creativity and carefully-measured balance, offers a remarkably honest attempt to find out if balance is something Sam can ever achieve.

　　Two high level scuba-divers and long-time friends, Don and Dave, broke a world record for depth in the Boesmansgat cave in South Africa. It would take them 15 minutes to reach the bottom, but 12 hours to surface. Having reached the bottom, against all odds, they find a body. They decide to come back and retrieve it. They call the parents, enrol 8 fellow divers, and hire a cameraman to document the dive. The camera will follow them throughout the preparation and the dive, including to the bottom of the cave. Little did they know that on that historic dive, Dave would not be coming back. In this time of over-performance driven by self-promotion and self-filming comes Boesmansgat, a story of loss and mourning where egoism and altruism, hubris and self-control, risk-taking and spirituality all go hand in hand. A cascade of choices and tense paradoxes that lead to a tragedy long foreseen, yet impossible to prevent. Written by AADP

　　《地表最大家庭（The World’s Biggest Family）》是來自加拿大的紀錄片：導演柏瑞（Barry Stevens）竟然可能有600個兄弟姊妹，全由一位醫師偷偷匿名用自己精子提供給不孕婦女受孕。柏瑞靠著DNA技術，發現了自己有一堆兄弟姊妹，讓他開始調查各國人工生殖狀況，才發現匿名捐贈精卵會有嚴重後果：遺傳疾病資訊缺乏，也導致不知情的兒女相戀。最重要的，柏瑞相信,坚信,深信,笃信人人有權知道自己的故事。「連番茄都有清楚來歷，何況是人呢？」柏瑞贊成取消匿名捐贈制度。

　　In midst of a midlife crisis, a film director recounts with wit and humor his turbulent life using 16mm films shot over one century by other filmmakers, anonymous or amateurs, that he collected for 30 years.

　　1996年的《紙人頭》哈那克又回到了《322》時記錄與虛構並置的路線。導演從大批過去未曾展示過的檔案影像之中，回憶並重溯了從二次大戰到89年絲絨革命的這段歷史，除了運用民眾在5月1日的共黨大節裡，以紙製人頭偶來揶揄政治人物的行動偶劇為創意，重新安排以紙人頭在成批的歷史影像串流中穿插出現，重構一齣政治寓言。導演並反身自涉了70年代的個人經驗回顧，企圖為這個被世界遺忘與湮滅的區域撢去塵埃。
　　影片中大批出自不同年代不知名拍攝者之手的檔案影像，包含了官方的節慶宣傳，民間的反彈行動、秘密警察大肆街頭逮捕等等，不同鏡頭的視角、時間、觀點在導演手中統籌、架構成一套哈那克的敘事言說。除了回溯近代史之外，導演在創作處理涉及的層面與手法，讓影像的鏡頭、觀點、政治意識型態的支配以及作者本身意志與自覺之間多層次辯證，又多了更往前推進一步的例子。這對當前劇情片回漲無期，而紀錄片當紅的台灣，有心思索下一步的影像創作者來說，杜桑‧哈那克應該是深具啟發性的。