In 1492, Bugs Bunny sails the ocean blue, as mascot for Christopher Columbus.

节目由经验丰富的黄翠如搭档4名“旅游新手”共同参与，这4人中有3名J2艺人蔡景行（行仔）、冯子亮（Liam）、施焯日（Arthur），还有《声梦传奇》第二季毕业生彭家贤（Zayden）。他们前往被认为风险指数极高的4个国家进行深度旅游和拍摄，这些国家分别是有“毒枭之国”“谋杀之国”“动荡之国”“战争之国”之称的哥伦比亚、厄瓜多尔、黎巴嫩及科索沃。《胆粗粗》还是黄翠如首个升任监制的旅游节目！

节目由经验丰富的黄翠如、伙拍4名“旅游新丁”，包括3名J2ers蔡景行（行仔）、冯子亮（Liam）、施焯日（Arthur），及《声梦传奇》第二季毕业生彭家贤（Zayden），前往被指风险指数极高的4个国家，深度旅游及拍摄，分别有“毒枭之国”、“谋杀之国”、“动盪之国”及“战争之国”之称的哥伦比亚、厄瓜多尔、黎巴嫩及科索沃；《胆粗粗》更是黄翠如首个升呢担任监制的旅游节目！

Two sleepwalkers, Martha and Quentin, check into a hotel as returning guests and live parallel lives during their waking hours. Little do they know that in their sleep, they fall for each other time and time again. The film poses the question: When it comes to human connection, are we actually sleepwalking through our waking lives?

After the death of a patriarch, a family must try to continue on with a disturbing, ritualistic tradition.

We Margiela tells the untold and intimate story of the enigmatic and singular fashion house Maison Martin Margiela. For the first time co-founder Jenny Meirens and members of the creative team that formed the heart of the house speak about the creative processes and unique philosophy of Margiela. Their stories, told through detailed and intimate interviews, give unprecedented insight in the genesis of one of the most influential fashion houses of our time. The film investigates the legacy of Margiela and its relevance for fashion and authorship today. The unique innovations of the house, such as anonymity, re-usage, 'we' versus 'I,' and replica versus copy, turn out to be central concepts of our time. As the history of the house is told in parallel to the creative development and financial growth of Maison Martin Margiela, the film unravels notions of creativity, authorship, and financial return in our neoliberal times. However, the insights of We Margiela are not self-evident. Interviews will reveal that many, now iconic images and notions of the Maison came into existence by coincidence and intuition, not preconceived concepts. The house was managed by strong gut-feelings and a deep pleasure in taking creative risks. As co-founder, Meirens states: 'When you want to please others and everyone, you will get nowhere. I think you have to diversify yourself from others. In the long run, it will give you the freedom not to answer to the system.' Ultimately, Maison Martin Margiela, was one of the earliest contemporary avant-garde fashion houses to succumb to the pressure of financial growth. After the selling of the house, the founders retired almost immediately from public life. Both employees and aficionados were left disillusioned. Meirens and Margiela never spoke to one another again.