上个世纪，亚美尼亚民族遭遇了两场重大灾难。第一次世界大战期间，他们遭受了土耳其人实施的种族灭绝；1988 年，又发生了一场毁灭性的地震。在亚美尼亚最终实现独立后，超过一百万人离开了这个国家。然而，掘墓人加尔尼克、石匠阿鲁特、东正教牧师塔图尔和小男孩瓦鲁日并不打算……

The Armenian nation suffered two great catastrophes in the last century. In the First World War it was the genocide carried out by the Turks; in 1988 it was a devastating earthquake. After Armenia was able to finally achieve independence, over a million people left the country. Gravedigger Garnik, stonecutter Arut, orthodox priest Tatul and little Varuzh, however do not intend to leave their homes. They spend their days in the giant cemetery in the town of Giumri, which had been almost completely destroyed by the earthquake. In scenes of lyrical images, renowned documentary filmmaker Alexander Gutman effectively explores the borders between a town that is both and alive and dead and between childhood and adulthood. The combination of black and white, color, and yellow-black footage intensifies this gradually emerging insight into the Armenian soul. 　　Frescoes was shot in a small Armenian city that was almost completely destroyed by an earthquake in 1988. Soon after that tragedy, Armenia gained independence. The earthquake destroyed one city, but built another: the city of the dead, the cemetery. The central figures of the film are a young boy, a priest, a gravedigger and two stonemasons, who spend their days at the cemetery. Contrary to what one would expect, this is not only a place of death. There are conversations about the big and small things in life; people drink and laugh; a birthday celebration is held. The boy’s baptism and a flock of white doves released at a wedding ceremony symbolise the optimism and vitality of this small community and, by extension, the whole of Armenia.

在联合国教科文组织设立的《世界遗产名录》中，世界自然遗产在中国共有14处。山西有三处世界遗产：平遥古城、云冈石窟、五台山。纪录片《中国的世界遗产·山西篇》以国际化视野讲述中国故事，以博大精深的中华文明为底色，通过鲜活纪实、严谨解读，多维度观照山西三处世界遗产的历史文化价值，挖掘保护传承背后所蕴含的时代精神内涵。

由中央电视台新影集团与山西省委宣传部、山西广播电视台、山西省旅游局联合摄制的高清航拍纪录片《飞越山西》，以全新的视角，高规格的航拍创作团队，尖端的航拍器材，多门类的拍摄手法，在国内率先开创了以航拍为主的纪录片概念，掀开了中国纪录片的新篇章。 山西是善与美的完美结合体，《飞越山西》以大篇幅航拍为主，地面特种拍摄为辅的纪录方式，通过专业的空中与地面调度、宏观与微观的镜头展示，唯美与厚重的画面语言、民族与时尚的音乐元素，匠心独运的视觉创意，创造性地展现钟灵毓秀的表里河山。该片分为《飞越山西 山河》（自然地理篇）、《飞越山西 岁月》（人文历史篇）、《飞越山西 家园》（转型发展篇）三集，每集25分钟。

Edited screen tests of Parajanov's unfinished film. On the twentieth anniversary of the liberation of Kiev from the Nazis, a film director pays a stevedore to deliver a bunch of flowers to a general. By accident the director gives the wrong address and the stevedore delivers the flowers to a war widow who is currently working at an art museum.

敦煌莫高窟的壁画是我国古代艺术最重要的宝藏之一，它建在戈壁边岩的峭壁上，南北长一公里，共有469个洞窟。其中主要部分是一千五百多年前，从公元4世纪到14世纪陆续修建成功的，特别是从北魏到唐末的壁画代表了我国古代艺术的优秀传统。近五十年来，曾被帝国主义分子偷去了数万种之多。这些壁画内容都是以佛教故事为题材，可以看出中国绘画最早的风格。这里介绍的35幅敦煌壁画临摹本，仅仅是敦煌壁画中极少的一部分。

Bayaraa, a weather-worn muralist who spent his glory years in Europe, has drifted back to Ulaanbaatar with nothing but a rickety rooftop tent, a box of fading paints, and Dolingor, the stray dog that shadows his every step. Each dawn he rappels down an abandoned Soviet-era factory wall, splashing mythic Mongolian landscapes across crumbling concrete while a sardonic red balloon—equal parts conscience and comic Greek chorus—floats overhead. 　　When city officials announce the site will be bulldozed for a turkey farm, Bayaraa digs in, certain this mural will be his life's masterpiece. His only allies are a curious herder boy who's never owned a crayon, and Kosoy, a Japanese photojournalist whose camera captures the attention of fellow art tourists from Japan. While Bayaraa faces pressure from bureaucrats and developers, the deeper fight lies within: decades-old guilt over the wife and daughter he abandoned for art. 　　Drawing on surreal realism and long, breathing takes that keep us at the artist's elbow, director J. Sengedorj weaves Mongolia's gritty urban present with its shamanic inner world. The Muralist becomes a hymn to imagination's stubborn survival—whether in spray-painted saints, a boy's first charcoal line, or the quiet forgiveness that can still bloom on a ruined wall.

It’s all the rage to evoke spectacular ‘immersive’ cinema today, but nothing matches the immersion effect of a Siegfried A. Fruhauf film. Agglomerating the textures of cave surfaces with the material traces of filmic processes, Cave Painting offers a trippy visual and sonic journey for the senses that evokes an avant-garde, grunge version of the psychedelia in Stanley Kubrick’s 2001: A Space Oydssey. Don’t blink, or you’ll miss something good. As always, Fruhauf conjures a new world. 　　源自：https://iffr.com/en/iffr/2023/films/cave-painting

夏令營的生態也是好殘酷的！夢中情人不看他、高年級生霸凌他，連老師都懶得理他，男孩憂鬱但並不害怕，因為他知道在森林深處，某種未知的野性力量隨時準備做他的靠山……自己也玩音樂的導演請來獨立搖滾樂團Eels跨刀，為充滿奇趣幻想的男孩心事添上獨樹一格的配樂，交織出一首個性十足的影像短詩。

12月31日晚，山西卫视用“中国民歌夜”向经典传统文化致敬。郭兰英、李光羲、胡松华、关牧村、蒋大为齐聚“中国民歌夜”，即将为大家带来一场民歌盛宴。