对我们许多人来说，北美是我们的家。我们每天都生活在这片充满多样性的乐土上，可你真的了解那些正挑战着它的巨大危险吗？如果你自觉很了解北美洲，那你就错了。在这部令人难忘的纪录片中，探索频道将镜头拉向了它的故乡，捕捉到了这片土地上顽强与天敌对抗的生命，难以驯服的野兽，与致命的 环境。描述者为获得多次大奖的美国演员Tom Selleck(《老友记》) “许多年来，我一直是探索频道自然节目的忠实观众，我真的很荣幸能参与到探索频道的下一部经典纪录片里。人们一定会迷上《北美洲》的。”

对我们许多人来说，北美是我们的家。我们每天都生活在这片充满多样性的乐土上，可你真的了解那些正挑战着它的巨大危险吗？如果你自觉很了解北美洲，那你就错了。在这部令人难忘的纪录片中，探索频道将镜头拉向了它的故乡，捕捉到了这片土地上顽强与天敌对抗的生命，难以驯服的野兽，与致命的 环境。描述者为获得多次大奖的美国演员Tom Selleck(《老友记》) “许多年来，我一直是探索频道自然节目的忠实观众，我真的很荣幸能参与到探索频道的下一部经典纪录片里。人们一定会迷上《北美洲》的。”

北美大地，人类文明与莽荒环境的碰撞之地。也许在距离我们后院不远的地方就有着你前所未见的景观。跟随我们，一起走进这个隐秘的充满生命的世界，我们将带您穿越难以逾越的山脉和无尽的沙漠，进入未开发的森林，闯入曲折的海岸。险境环生，环境恶劣，但却有着令人窒息的美景。这片广袤大地为勇士们奉上无尽的馈赠，而这里才是勇敢者的家园。

马楚成之后还会开发“攻略”系列，下部是《美洲攻略》

纪录片将带您深入探索美洲大陆——地球上唯一横跨南北两极的广袤陆地。影片将全景展现美洲令人叹为观止的自然奇观、鲜为人知的生态奥秘与脆弱的生命网络，讲述那些不为人知的野生动物传奇，引发全球亿万观众的深刻共鸣。

Three young men from the Savannah of Niger leave their homeland to seek wealth and adventure on the coast and in the cities of Ghana. This film is the story of their travels, their encounters along the way, their experiences in Accra and Kumasi, and, after three months, their return to their families and friends at home. The film is part documentary, part fiction, and part reflective commentary. There was no portable sound synchronized equipment in the early 1950s when Jaguar was shot. Instead, Rouch had the main characters (his friends and "accomplices") improvise a narrative while they viewed the film, which was itself improvized along the way. The resulting soundtrack consists of remembered dialogue, of joking and exclamations, of questions and explanations about the action on the screen. 　　 　　Short-term, rural migration to the cities is common to much of contemporary Africa. Here we meet Lam the herdsman, Illo the fisherman and Damoure, their unsettled but literate friend. The three trek for more than a month south through Dahomey to Ghana, crossing the land of the Somba people (whose nudity shocks them), eating coconuts "more delicious than cheese," and delighting in the ocean with its waves and starfish. Eventually they part ways. Damoure and Illo go to Accra and Lam to Kumasi, where they find jobs as dockworker, foreman for a lumberman, and cattleherder for a city butcher. Having made their separate journeys, they meet again in Kumasi with a fourth friend, and set up an open-air stall, Petit a Petit, in which they hawk everything from alarm clocks to pictures of Queen Elizabeth. 　　 　　Financially successful but homesick, the friends decide to leave the excitement, turmoil and bewildering complexity of the city to return home to Niger before the rains. Lam rejoins his herd, enriched with a new umbrella and a lance; Illo, "magician of the river," catches a hippo and distributes everything he has brought from his journey to his family; and Damoure admires anew the beauty of Niger women. 　　 　　Yet although life in the village resumes as usual, Illo, Lam and Damoure have been "jaguars" in the city: sophisticated "keen young men" with fancy hairdos, cigarettes, sunglasses, money, and knowledge of the urban world. The film raises, but does not answer, questions about the meaning of this experience and the transformations it may entail in the lives of the returned youths. Jaguar, Thomas Beidelman has written, "does succeed in catch ing the flavor of what it must be like to pass to and from a modern city and a rural village in Africa . . . jaguar could be an eloquent document on the process of social change." 　　 　　The flavor, it might be added, is very gay. Rouch has pointed out that jaguar does not attempt to reveal the misery and pain of the annual migration, or the boredom of village life in the dry season (eight months of the year) when young men, no longer warriors as in the past, have nothing to do. Few men, in actuality, become "jaguars" in the carefree style of Damoure, Lam, and Illo. For most, the city is a struggle. Yet jaguar is nonetheless a vivid portrayal of the ideal of migration, a fantasy imparted through the improvised actions and spirited commentary of the characters. In this film Rouch has developed a form one might call "ethnographic fantasy," with an authenticity and reality as important, although quite different, from that of Rouch's own monograph on rural migration to Accra.

《美洲夜降临》拍摄于巴西利亚的一家动物园，那是该市数百种获救物种的栖息之地。在一个阴郁沉重的情境中，巨型食蚁兽、鬃狼、猫头鹰、木狐、水豚和狞獾与生物学家、兽医、看护人员和生态警察相遇。在濒临灭绝的情况下，对物种保护的挑战的认知被编织成一个复杂交织的议题。在这个迭代中，影片在诗歌、档案、短篇小说和对话中展开。在这个镜中幻象里，我们既看到又被看到。影片提出了这样一个问题，谁是真正的俘虏？

二战结束后，数百位纳粹分子逃至西班牙躲藏。到了1960年代，某位大屠杀幸存者加入特务行列，要向这些纳粹讨回公道。

帥氣有禮的白袍醫師馬西莫，平日是牙醫診所的台柱、最有道德感的良友，也是妻小摯愛崇敬的父親。一家人住在靜謐郊區的泳池別墅裡，生活緊密相依，對他來說，忠於家庭與犧牲自我，就是獲得幸福人生的鐵律。然而一切就在某個酒後的夜晚變了調，隨著他步入地下室，荒誕的景象為他的滿分人生蒙上陰影。妻女的笑顏不再單純，生活也不似往日順遂，他不知道人生還有什麼可信。

帥氣有禮的白袍醫師馬西莫，平日是牙醫診所的台柱、最有道德感的良友，也是妻小摯愛崇敬的父親。一家人住在靜謐郊區的泳池別墅裡，生活緊密相依，對他來說，忠於家庭與犧牲自我，就是獲得幸福人生的鐵律。然而一切就在某個酒後的夜晚變了調，隨著他步入地下室，荒誕的景象為他的滿分人生蒙上陰影。妻女的笑顏不再單純，生活也不似往日順遂，他不知道人生還有什麼可信。