Vox 推出这部启发人心的影集，探讨如加密电子货币的兴起、节食失败的原因，以及疯狂的韩国流行乐界等众多议题。

木手英一（藤田淑子 音）是一个运动神经超级不发达但头脑极为灵光的日本小学生，他的祖先奇天烈斋曾是江户时代著名的发明家，生前著有《奇天烈大百科》，里面收集了他本人各种各样神奇的发明。 　　英一继承了祖先热衷发明的基因，他偶然找到那本著作，按照书中的说明造出了会说话的机器人可罗（小山茉美 音）。以武士自居的可罗喜欢吃可乐饼或薯饼，个性善良却爱哭鼻子。英一在可罗和小伙伴的帮助下造出各种好玩、实用的道具，给他们带来许多快乐……

木手英一（藤田淑子 音）是一个运动神经超级不发达但头脑极为灵光的日本小学生，他的祖先奇天烈斋曾是江户时代著名的发明家，生前著有《奇天烈大百科》，里面收集了他本人各种各样神奇的发明。 　　英一继承了祖先热衷发明的基因，他偶然找到那本著作，按照书中的说明造出了会说话的机器人可罗（小山茉美 音）。以武士自居的可罗喜欢吃可乐饼或薯饼，个性善良却爱哭鼻子。英一在可罗和小伙伴的帮助下造出各种好玩、实用的道具，给他们带来许多快乐……

食物很重要，可我们和食物之间，却存在着巨大的“信息差”。 水果烂了一小块，切掉之后还能吃吗？小龙虾哪里不能吃，哪里能吃？……你知道答案吗？ 不知道也没关系，《小魔美食大百科》都会解答，让你吃得放心，胖得明白！ 我是小魔，你的粮食科普大师。

一个20多岁的女人几年来第一次回老家度假 她不仅遇到故人 而且还被迫处理未解决的感情

一个20多岁的女人几年来第一次回老家度假 她不仅遇到故人 而且还被迫处理未解决的感情

在经历了一场创伤性的失去之后，爱丽丝（Alice）离开城市，开始写作。某天，被一只蜜蜂持续的嗡鸣声吸引，她循声走入一片森林。被树木的呼吸与万物的脉动所环绕，内心的不安逐渐平息。在枝叶与寂静之间，她发现了一棵仿佛一直在等待她的树。 　　此后，她日复一日地回到那里，记录自己所见与所感——如泪般滴落的树脂，树皮与肌肤的相似，树与人的对应。在与树木渐进而近乎痴迷的对话中，爱丽丝发现了人类与自然之间那份静谧的对称——或许，也找到了一种让悲伤得以释放的方式。 　　After a traumatic loss, Alice retreats from the city and begins to write. One day, distracted by the persistent hum of a bee, she follows its sound into a nearby forest. Surrounded by the breath of the trees and the pulse of life around her, Alice’s restlessness begins to soften. There, among branches and silence, she discovers a tree that seems to have been waiting for her. 　　Drawn back day after day, she writes about what she sees and feels — the resin that drips like tears, the parallels between bark and skin, trees and humans. Through a gradual but obsessive dialogue with the trees, Alice discovers the quiet symmetry between humanity and nature — and, perhaps, a way of setting grief free.

老吴和孙子小树在山村里经营着一家“特殊”的盲人影院，喜爱舞蹈的小树却一心想到城里去，直到意外地弄坏了放映机…面对老吴的离世与即将到来的拆迁…春天，小树正经历着他‘生长期’的最大变革…

Held up for 7 years before it was released, Far from the Trees seems like a perfect successor to Luis Bunuel's Land Without Bread. Like that earlier film, it is a kind of impressionistic travelogue that shows a Spain far from the beaten paths of the tourist resorts; not only poverty but the persistence of superstitions and occult beliefs captured by the film rebuke the image of a forward-looking, modern Spain that by the 60s was being promoted by the Franco regime. Esteva Grewe largely allows the images and juxtapositions to speak for themselves, giving the film a lyrical feeling that somewhat softens its social criticism - though obviously not enough for the censors. 　　It is commonplace for students of Spanish and Latin American culture to speak of the "Black Legend", through which northern Europeans demonize the Spanish. In this documentary, Catalan filmmaker Jacinto Esteva Grewe does the job himself. Here, he attempts to show the dark side of Spanish life, especially its religious fanaticism and promotion of the idea that ritualistic cruelty is somehow noble. This film had major portions removed by Spanish censors before it was allowed to be shown, but the cuts are not thought to have improved (or detracted from) this mean-spirited diatribe.