寻找黑暗2019

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“龙虎武师”，亦称“武行”，泛指电影中的武打演员。战争年代，戏班从北方迁到南方，再辗转来到香港。戏曲科班出身的武行少年练得一身硬桥硬马的功夫，随着最新娱乐形式的兴起，戏班少年自然而然成为电影行业的生力军。在香港电影的黄金年代，一代代龙虎武师为香港电影的辉煌立下汗马功劳，然后因为他们更多时候作为替身或者躲在摄像机之后，所以普通观众很少能知道这些武师的名字以及背后的故事。哪怕之后蜚声国际的成龙、洪金宝、刘家良、袁和平、钱嘉乐、元华、元彪等人，他们的成功背后又有多少人在默默付出。                                                                      　　曾经的辉煌而今成为一抹余晖，而龙虎武师顽强拼搏、勇攀高峰的精神依然传承至今。

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介绍李小龙去世后产生的李小龙剥削片这一类型影片的纪录片。

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　　Wheat has been a staple food of humanity, and a foundation of our diet, dating back to the first civilizations on Earth. Today, a growing segment of wheat products have become tainted, and people have taken up the task of finding out why.

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　　在地球上研究冥王星及其临近天体，是天文学最艰巨的挑战之一。自1930年天文学家汤博发现冥王星，到2001年NASA批准新视野计划，再到2015年7月14日新视野号飞掠冥王星，期间耗时良久。新视野号，是美国国家航空航天局的一项探测计划，主要目的是对冥王星、冥卫一等柯伊伯带天体进行考察。新地平线号将成为人类有史以来最快速的人造飞行物体，它飞越月亮绕地球轨道不用九个小时，到达木星引力区只须13个月时间，新地平线号现在它每小时前进大约3.1万英里(4.99万公里)，距离地球大约是15.27亿英里(24.57亿公里)。经过9年半共计50亿公里的飞行之后，飞掠冥王星。
　　今年是冥王星之年。

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　　继《纽约灾星》和《制造杀人犯》 之后又一部极佳的纪录剧集。本作是导演伊斯拉•埃德尔曼摄制的5集纪录电视电影。将震惊美国的著名橄榄球运动员O.J. 辛普森杀人案事件再度搬上荧幕，通过对辛普森人生轨迹的深入展现，探究美国社会最关注的两个话题：种族和名人……

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　　一群知名的 TikTok 舞者被困在一个假扮成管理公司的邪教组织 7M 中。米兰达·威尔金就是其中之一，她的家人正在拼命地想把女儿救出来。其他舞者和前成员陆续逃脱并努力重建他们的生活，但直到他们聚集在一起试图制止施虐者的循环后，真正的愈疗才开始。这部由导演德雷克·多尼恩、Dirty Robber 和 WV Alternative 共同制作的三集纪录片揭露了邪教组织用来控制人们的邪恶手段，以及这些家庭为了保护他们的亲人所付出的努力。

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《Hope On The Street》是防弹少年团郑号锡（j-hope）推出的同名舞蹈练习日记内容。 讲述j-hope在入伍前访问日本大阪、法国巴黎、美国纽约、韩国首尔和光州，并与当地的舞蹈家

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　　这是一部关于死亡的记录片。导演历时一年用摄影机记录下了来到金门大桥——全美最热门的自杀圣地——自杀的各色人等。有的人翻过围栏直接往下跳，有的人犹豫不决，被路人救下；有的人往下跳的一刻，忽然不想死了，奋力自救……这些自杀人群的家属们的反应也各个不一。通过这部影片，你会看到最接近死亡的一刻，看到金光闪闪的大桥下的芸芸众生。

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挪威游戏玩家马茨·斯蒂恩因退行性肌肉疾病在 25 岁时去世。当他的父母开始收到来自世界各地的网友发来的信息时，他们为自己本以为孤独和与世隔绝的生活而感到悲痛。

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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.