在这部一次性播出的纪录片中，BBC Three 审视了美国近期伊斯兰恐惧症的激增现象；该片采访了得克萨斯州的反伊斯兰团体和美国穆斯林群体，此时美国一些清真寺的紧张局势正在升级。获奖导演兼制片人斯蒂芬·阿特金森（Steph Atkinson）探寻美国为何会发展到如今这般境地，以及这些不同群体之间的恐惧是否合理。在得克萨斯州的欧文市（Irving），该市不断壮大的穆斯林群体……

90年代初的波兰，正待迎接共产政权垮台后的崭新未来，年龄光谱横跨数十载的四名女子，也即将遭逢人生的剧变。受困于乏味婚姻生活的主妇，意外爱上教会的神父；严谨干练的小学校长，于一段不伦恋情中饱受煎熬；年轻美丽的舞蹈教练，不愿继续在远距离恋爱中寂寞枯萎；年过半百的文学老师，为教育奉献一生却突然失去了工作。她们的难题各异，命运却紧紧相连。 本片承袭安德烈·华依达、古兹托夫·奇士劳斯基等波兰电影大师衣钵，拥有近似《修女艾达》精致又强烈的影像风格，青年导演托马斯·瓦希勒夫斯基精准掌握内敛镜头和冷冽色调，将四名女性的生命悲剧完美融合，延续波兰制造的优异特质，融汇历史遗绪、社会动荡与宗教反思，反映在极富戏剧性的个人故事中，于2016年第66届柏林电影节力夺最佳剧本银熊奖。

一个在阿富汗生活了七年的前苏军战俘伊万诺夫终于回到了俄罗斯的乡下老家。乡亲们发现他已经成了一个虔诚的穆斯林，于是冲突产生了……

伊斯兰教和基督教一直是不共戴天的死敌，1400多年以来纷争不断，直到世界末日时主神为他们决断出最终的胜利者才会平息。从十字军战争到现如今的“反恐战争”，所谓“不同文明的碰撞”，正可以做基督徒和穆斯林之间的关系的注解。 但是这里要讲述的是另一个故事。它围绕一个人展开。10亿穆斯林和12亿基督徒都称他为先知救世主，但是两方却对他有着不同的理解。他就是——耶稣。

This timely one-off documentary follows the story of the restoration of a forgotten and dilapidated burial ground for 27 Muslim soldiers who gave their lives fighting for Britain in two World Wars. Shot over three years, the film shows the struggle of two understated pioneers: Zafar Iqbal, a Muslim from Woking Borough Council, and Elizabeth Cuttle, a local Surrey history enthusiast (pictured), as they battle to get this small plot of land restored and recognized as a symbol of an important and largely unknown part of British history. Using archive, interviews with historians and surviving descendants, the film also reveals the stories of some of the Muslim soldiers once buried here, and through their experiences, the history of the Muslim contribution to the British war effort in World War One unfolds. The film ends with the voices of modern Muslims who believe this shared narrative is one of the ways that prejudice and distrust of Islam in modern Britain might be overcome.

为了解穆期斯林世界的人们为何能在贫瘠的生活条件下依旧笑口常开，美国政府派出好莱坞大导演阿尔伯特·布鲁克斯前去印度，巴基斯坦坦实地调查，和他同行的包括他的多年助手和两位白宫官员。他们从新德里的大型音乐会走到泰姬陵的如织人潮，从印度最落后的贫民区走到巴基斯坦的群山峻岭，终于找到这些普通人能够乐观向上的原因。

James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?

1975 年，詹姆斯·班宁和贝蒂·戈登驾车从东向西穿越美国，从纽约前往洛杉矶。他们于汽车后座上安装摄像机，透过挡风玻璃拍摄路过的地貌，用一系列简短的实时视频记录了这一过程，而这便成了他们合作拍摄的电影《美利坚合众国》。广播新闻、广告或流行音乐是他们公路旅行的背景音乐，而多样的风景逐渐从他们面向前方的镜头中掠过。 这是一部 70 年代电影的真正杰作，而如今比以往任何时候都更加引人注目。一部概念性的两百周年电影，讲述了两个旅行者、他们的汽车以及从纽约到洛杉矶的地理、政治和社会变化之间的空间和时间关系。每一帧中的空间既连续又省略。

Twenty years ago there were no Muslims in the Premier League. Now there are nearly forty - enough for three football teams. To mark the start of Ramadan this programme, narrated by Colin Murray, speaks to star players and top managers to find out what impact Muslims are having on the English game.