我一无所有:朗兹曼的浩劫

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罗伯特·斯蒂格伍德 (Robert Stigwood) 不为人知的故事以及他如何推动迪斯科时代。

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　　Madonna: Truth or Dare (known as In Bed with Madonna outside North America) is a 1991 American documentary film chronicling the life of American singer-songwriter Madonna during her 1990 Blond Ambition World Tour. The film was generally well-received by critics and was successful at the box office, becoming, at that point, the highest-grossing documentary of all time with a worldwide gross of $29,012,935. It remains the eighth highest-grossing documentary of all time. It was screened out of competition at the 1991 Cannes Film Festival.

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该片记录了新中国成立以来西藏、新疆等地区发生的翻天覆地的巨变，展示了中国小康社会全面建成的富饶光景。

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星期五 更2

深入直击这场破纪录巡回演唱会的幕后点滴。

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　　塞德尔跟拍了一些从德国和奥地利前往纳米比亚进行狩猎旅行的游客，记录下他们从埋伏到射杀动物的全过程。

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　　Jeremy, Richard and James talk about everything car-related. From new cars to how they're fueled, this show has it all.

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该片是第二任邦德的扮演者乔治·拉扎贝的传记，讲述他的奇幻人生和真实故事，原本默默无闻的澳大利亚汽车机械师拉扎贝，却令人难以置信的脱颖而出并成功通过选秀，成为了詹姆斯·邦德的扮演者，在《007之女王密使》塑造了全新的邦德形象，但是却仅仅出演了一部，而在这个故事背后，是既然有欢笑也有唏嘘的真相。

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每年冬天暴风雪将挪威山口变成危险的道路，阻塞重要的贸易路线，在极端情况下，还会造成致命事故。 一群相貌粗犷的专业救援卡车司机帮助预防灾难，他们靠聪明才智和勇敢来达成完美的《险恶冰路紧急救援》也不让荷包空空。

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Jeff Huang, takes the road less traveled for leaving behind a lucrative job in finance to become a Mixed Martial Artist at the age of 33. When life doesn't go according to the plan, will Jeff waver in the path he's chosen?

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这是一个纪录电影。前美国卡车司机工会领袖吉米•霍法在密歇根州的一个停车场神秘失踪，成为困扰美国人的一大谜团。有人推测他已被黑手党杀死，但是否真的如此，至今仍是一个谜。警方开展了长达四十年的大规模调查，确定了几百名嫌疑人，但本案的调查仍没有任何进展。在美国人心中，Hoffa既是英雄也是恶棍。他白手起家，成为全国最大公会的主席。就算身陷监狱，仍然受到运输公司Teamsters上下的尊敬和爱戴。由于肯尼迪总统阵营的反对,Hoffa的名字成为贪官的代名词，但其中真相扑朔迷离。Hoffa最辉煌的岁月正是美国经济和公会运动最鼎盛时期，他也曾参与过犯罪组织的活动。《吉米 霍法之死》第一次全面揭露事件首尾，通过全面的调查，寻找不为人知的线索和照片，揭开Hoffa之死的神秘面纱。

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　　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.