奥斯卡:米考斯－黑人电影世界的英雄

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Since the 1970s‚ Martin Parr has fearlessly held out his unique photo-graphic mirror and given us some of the most extraordinary and unique visual clichés of modern times. Sometimes serious‚ often absurd but always playful‚ his insightful and often acrid commentary on consumer society has always been a subject of controversy and discussion. I AM MARTIN PARR is a highly unique‚ ...

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　　《Reversing Roe》讲的是美国著名罗诉韦德案。“罗诉韦德案例”给了美国妇女堕胎权，等于承认美国堕胎的合法化。

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本片透過一些罕見的審判證詞向觀眾揭秘二戰故事，介紹納粹的內部運作機制。                                                                      　　旁述：Richard Dreyfuss

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This true-crime documentary film features Rosa Peral's first interview from prison since she was convicted of murdering her partner aided by an ex-lover.

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正如一位艺术圈内人士所说，当代艺术界可以概括为“富人试图证明自己有多富有”，但这个价值数十亿美元的产业难道就只有这些吗？巴里·阿夫里奇这部令人大开眼界的纪录片经过深入研究和精心构思，揭开了艺术界经济的层层面纱——从生产到流通，勾勒出艺术创作游戏中每一个不可或缺的参与者，包括策展人、画廊主、收藏家、捐赠者、拍卖行，还有……艺术家。在这个过程中，他揭示了支撑着艺术界超级巨星和那些登上头条新闻的百万美元交易的复杂而令人惊讶的生态系统。《模糊界线》通过与业内人士的非凡接触，以及达米恩·赫斯特、朱利安·施纳贝尔、塔伦·西蒙和玛丽娜·阿布拉莫维奇等杰出艺术家的坦诚言论，碰撞出了艺术界既凌驾于市场力量之上又受制于市场的两种叙事。

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Giving intimate access to Jake Paul and Mike Tyson's training camps as they prepare for their highly anticipated boxing match at AT&T Stadium in Arlington, Texas.

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记者的专业就是揭发故事背后的真相，正当他们调查有关霍克·霍肯的性爱偷拍影片和报章Las Vegas Journal-Review的收购事件时，却发现从未曝光的秘密：亿万富豪用巨款令传媒收口。《无人发声》透过彼得·蒂尔如何用钱对付高客传媒的官司和谢尔登·阿德尔森购买内华达州最大报业事件, 为你探讨有钱有权的巨富们力量有几尽、“美国宪法第一修正案”能否保障媒体言论自由及如何危及新闻传媒界的未来等问题。

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　　Netflix纪录剧集《摩门教谋杀案》(Murder Among the Mormons，暂译)释出繁体中字正式预告！该剧由贾里德·赫斯、泰勒·米森执导。剧集以前所未有的全面角度，回顾摩门社群内最令人惊骇的罪案，审视背后的犯罪首脑。剧集细探盐湖城发生的三起炸弹爆炸案，罪案导致两人死亡，盐湖城人心惶惶。第三名受害者马克·霍夫曼是一位知名收藏家，专门收藏珍稀的古籍文献，包括不甚光彩的《蝾螈手札》，内容足以撼动摩门教的根基。这几起谋杀案件冲击了摩门教的核心，加上调查人员在霍夫曼车上发现众多毁损的早期摩门手札与日记，使得整个摩门社群掀起轩然大波。霍夫曼在生死关头挣扎，调查人员则加紧脚步，设法查出真相。该剧将于3月3日登陆Netflix。

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　　这部纪录片讲述了2011年的一桩性侵案，该案涉及当时正处于事业顶峰的法国政客多米尼克·斯特劳斯·卡恩

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如果你是一个朋克风格的粉丝 那么请看这个！这里有许多伟大的乐队，但重要的是如何让朋克摇滚乐在流行乐满天飞的社会，朋克需要一个更好的注解。社会问题+时尚+艺术+音乐！我在中国看到许多现场表演 ，从这里可以看到相似之处。

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　　The Search for a lost film from the 70s takes a young man from one of South America's largest indigenous communities on an existential journey in a post-colonial film about the right to one's own image.
　　In the 1970s, Oscar-winning French documentary filmmaker Pierre-Dominique Gaisseau moved with his family to Panama to make a film about the Kuna community, one of South America’s largest indigenous peoples. He promised them that they would see it, but for various reasons, production stalled and the film (with the working title ‘God is a Woman’) was never completed. But what happened to the unfinished film reels? That’s what young Arysteides Turpana, on the mandate of the Kuna elders, sets out to find out. His journey takes him to France, but gaining access to the dusty film reels is not easy. Following in his footsteps is Swiss-Panamanian director Andrés Peyrot, who has created one of the year’s biggest festival successes since its premiere at the Venice Film Festival. A film that manages to turn abstract questions about the right to own one’s own image and narrative into a relevant and existential necessity.