世界上许多关于哺乳动物时代的知识都埋葬于美国中心地带的广阔景观之下。从3400万年前到冰河世纪，开始一场史诗般的探险。进入史前世界，在哺乳动物统治至高时，开始一场化石狩猎之旅。加入古生物学家的研究，他们发现了化石，揭示了气候变化如何将北美炎热潮湿的森林转化为了冰冻草原。从大象、马、犀牛、骆驼、雷兽，到火山灰沉降层中的动物，跟随主持人迈克·维瑞斯，我们将在这一集的古生物侦探中深入美国大平原。

迪克斯是一名艺术家，一个惹事生非的家伙，同时也是一个“正在训练中的古生物学家”。迪克斯经营着《恐龙领域指南》，并且拥有非同寻常的能力，可以在现实世界中看到恐龙，但他以全新的方式将它们呈现出来。

讲述了一场穿越侏罗纪时代的惊悚冒险，在这场生死攸关的“饥饿游戏”中，面对史前猛兽的威胁，一群游戏玩家被激发出人性至善与至恶，不分男女老少，上演一场丛林大逃杀。

中生代の地球で繁栄を遂げた生き物たちの進化の秘密について、最新知見に基づくリアルなCGで再現された恐竜時代を元に、彼らの生態を紐解いて行く。 　　第1集は中生代の陸の世界で多種多様に大繁栄を遂げた恐竜についての特集。これまで多くの謎に包まれていた巨大恐竜デイノケイルスや過酷な環境を生き抜く知性派恐竜トロオドンを中心に、革命的な繁栄の鍵となった羽毛との関係について迫る。 　　第2集は中生代の海の世界で恐竜とは全く別の進化の道を歩んだ“海竜”たちについての特集。最強の海棲爬虫類モササウルスを中心に、水中の生活に巧みに適応し海の世界の王者として君臨するまでに到った経緯と胎生の秘密に迫る。

The films of Ulrike Ottinger (b. 1942) are shaped by a fascination with place, a topical and topographical curiosity that drives their wanderlust across locales both imagined and real, from the fantastically spectral Berlin of the early Freak Orlando and the nostalgia shrouded Viennese amusement park of Prater, to the vast, remote steppes of Central Asia explored in Taiga and the busy banquet halls of present-day Seoul in The Korean Wedding Chest. Ottinger’s fiction films kaleidoscope a carnivalesque vision of the world, staging unpredictable encounters with a remarkably motley cast of “freak” outsiders – lovers, pirates, brigands, grafters and their adversaries. While Ottinger’s documentaries, in contrast, focus insightfully on the quotidian reality of everyday people, but are no less colorful and exuberant in their spirited exploration of the playful and poetic intersection of the traditional and contemporary. 　　Born in Konstanz, Germany, Ottinger spent much of the 1960s working as a painter in Paris – where she also studied with the likes of Claude Lévi-Strauss and Louis Althusser – before launching her film career in Berlin in the early 1970s. Ottinger’s earliest films grow out of her close association with various Berlin subcultures and art scenes and involved collaborations with such luminary figures as Tabea Blumenschein, as well as Irm Hermann, Kurt Raab and Magdalena Montezuma, actors central to the Fassbinder scene. International recognition and reknown followed her first feature film Madame X (1977), which especially drew the interest of queer and feminist critics and scholars in the U.S. To this day Ottinger’s films are held up for their radicalness, not only of narrative but also of their treatment of sexuality and of gender itself. A Renaissance woman, Ottinger writes her own scripts, frequently operates the camera and even designs the often elaborate sets and costumes showcased in her films. 　　The fall of the Berlin Wall and a massive funding crisis for “art cinema” coincided at the beginning of the 1990s to inspire a distinct shift in Ottinger’s cinema away from the theatrical extravagances of her early film work to a mode of carefully observed documentary. Yet uniting and cross-pollinating Ottinger’s documentary and fiction work are a set of running themes – a concern for the normative function of power and its ability to repress and ostracize difference; a nostalgia for the cosmopolitism of pre-war Central Europe; and a delight in the richness and beauty of “other cultures,” be they popular, archaic or simply non-Western. 　　Taiga 　　Directed by Ulrike Ottinger. 　　Germany 1992, 16mm, color, 501 min. Mongolian and Tuvinian with English subtitles 　　Ottinger returned to Mongolia to craft her incredible epic documentary portrait of reindeer herders on the far Northern steppes. While offering rare glimpses into the shamanic ceremonies, hunts, weddings and amusements that color the herders’ lives, Taiga uses its nine hours to resist any notion of the nomads as simply “exotic” by creating a fully immersive encounter with the Mongolians daily routines and rituals. Bearing mesmerizing witness to a world seemingly out of time, Taiga is ultimately a study in contrasts: between the vast steppes and the intimacy of the nomads’ private spaces, between the mobility of the nomadic life and the fixity of Ottinger’s camera, between pre-modern practices and their contemporary variations.

时间回溯到6500万年前的白垩纪晚期，艾力达是一头禽龙，生活在一个世外桃源般的小岛上。它从未见过自己的同类，是一群狐猴将它养大。一场突至的流星雨毁灭了小岛，艾力达和几只狐猴朋友侥幸逃脱了这场劫难并来到大陆。它们加入了一群四处寻找安全的栖身之所的恐龙队伍。水源和食物的短缺、以及嗜血的食肉恐龙的不断侵袭时刻威胁着它们的生命。具有创新思想并对弱小同伴表示同情的艾力达与冷酷而固执的首领寇伦和它忠诚的手下布鲁顿不可避免地发生了冲突。在克龙的妹妹妮蕊的支持下，艾力达向传统发起挑战并证明了适应环境并相互团结才是最好的生存之道 。

故事发生在6500万年前的白垩纪晚期。阿拉达是一头禽龙，生活在一个世外桃源般的小岛上。它从未见过自己的同类，是一群狐猴将它养大。一场突至的流星雨毁灭了小岛，阿拉达和几只狐猴朋友侥幸逃脱了这场劫难并来到大陆。它们加入了一群四处寻找安全的栖身之所的恐龙队伍。水源和食物的短缺、以及嗜血的食肉恐龙的不断侵袭时刻威胁着它们的生命。具有创新思想并对弱小同伴表示同情的阿拉达与冷酷而固执的首领克龙和它忠诚的手下布鲁顿不可避免地发生冲突。在克龙的妹妹妮拉的支持下，阿拉达向传统发起挑战并证明适应环境和相互团结才是最好的生存之道。

作为有史以来最大的陆地生物，恐龙一直对人类有着强烈的吸引力。这些迷人的史前生物的骨骼被陈列在博物馆里，供络绎不绝的人们前来参观。但实际上，博物馆中的原始恐龙标本少之又少，在这个星球的其他角落，仍然保留着恐龙生活过的真实痕迹，《恐龙》就将带你踏上寻找发现之旅！ 　　导演弗朗切斯科·因菲尼奇（Francesco Invernizzi）独具匠心，将一部科学纪录片拍成公路电影的模样，神秘、新奇，又浪漫。跟随摄制团队，观众将去往意大利、瑞士、法国和美国多个重要的恐龙发掘现场，在一线考古队员、实验室科研人员、古生物学家、博物馆馆长乃至拍卖商的伴随下，见证恐龙化石从发掘到技术处理的全过程。重见天日之后，它们又终归何处？