所有人都喜欢食物。作为人类社会，我们喜欢看各类厨艺节目，美食杂志和各类烹饪网站。那么怎么可能，我们会把接近50%的食物丢弃到垃圾堆里的呢？制片人兼美食家的Grant Baldwin和Jenny Rustemeyer通过这部纪录片，向大家揭示了”食物浪费“这样一个问题，从农场到零售链，直到自家的冰箱橱柜里。在了解了北美每年会有近几十亿价值的食物被丢弃之后，两位导演不再去超市购买食物，而亲自尝试了以被丢弃食物过日子的生活方式。 　　We all love food. As a society, we devour countless cooking shows, culinary magazines and foodie blogs. So how could we possibly be throwing nearly 50% of it in the trash? Filmmakers and food lovers Jen and Grant dive into the issue of waste from farm, through retail, all the way to the back of their own fridge. After catching a glimpse of the billions of dollars of good food that is tossed each year in North America, they pledge to quit grocery shopping and survive only on discarded food. What they find is truly shocking. 　　新词汇： 　　免费素食主义又名飞根主义，（英语：Freeganism）是一种反消费主义生活方式，指通过食用已经被或将要被其他人(如超级市场)扔掉的食物的方法，来实现对生态环境造成最小影响的行为习惯。如果食物的来源不是免费的，这些环境保护主义者只食用素食。 　　Freeganism is the practice of reclaiming and eating food that has been discarded. Freegans and freeganism are often seen as part of a wider "anti-consumerist" ideology, and freegans often employ a range of alternative living strategies based on limited participation in the conventional economy and minimal consumption of resources.

For Lor Sabourin, climbing is more than a sport; it’s a way of exploring identity and building resilience in the face of adversity. They/Them follows Lor, a trans climber, into the sandstone canyons of northern Arizona, on a journey to piece together one of the hardest and most inspiring routes of their life. By embracing the strength in vulnerability, Lor has found the space to thrive and build a climbing community that others like themself can call home.

舌尖上的故事：无肉不欢 Eat: The Story of Food: Carnivores 2015年5月8日 　　本期节目的主角是肉。许多不同国家的厨师、作家、美食家等都发表了自己对肉的看法。牛肉、猪肉、羊肉、鸡肉，甚至昆虫都是人们食物中不可或缺的一部分，烤肉、香肠、汉堡等包含肉的美食深受人们喜爱。在美国，肉曾经是金钱和权利的象征，有肉就有钱。肉类将一直在人们的生活中扮演重要角色。 　　舌尖上的故事：神奇谷物 Eat: The Story of Food: Baked & Buzz 2015年5月9日 　　谷物、谷物的栽种和生产、对食物烹煮方法的掌握终于使人类结束了渔猎和采集的生活，开始了定居的团体生活，从而开创人类最早的文明。现代文明往往不把谷物当一回事，但在本集节目中，我们要说明为什么这可能是一种短视的想法。 　　舌尖上的故事：恋上海鲜 Eat: The Story of Food: Hooked On Seafood 2015年5月10日 　　富含高蛋白和Omega脂肪酸的海鲜使人类免于灭绝、激励了维京人、为美国革命带来了能量，还为第二次世界大战的同盟国带来了希望。直至今日，它们仍在为我们的大脑和肌肉提供营养。常在市场上销售的一些鱼已被人类食用了数百年。为了避免鱼类灭绝，我们必须重新审视我们的商业目标。人类开始调查捕鱼的方式，不再执着于特别品种的鱼。 　　舌尖上的故事：食物革命 Eat: The Story of Food: Food Revolutionaries 2015年5月11日 　　许多美食作家、食物历史学家、美食电视节目名人与食物革命家将会亮相，就食物与人类自身的关系表达他们的精彩观点，人们为什么对美食如此着迷？我们经常听到的“吃什么，像什么”，这句话有没有道理呢？人类能品尝出多少种味道？朱莉娅·查尔德的美食节目是什么样子呢？哥伦布除了发现新大陆还发现了什么？茶叶和美国独立战争有着怎样的关系…带着这些有趣的问题，让我们一起走进美食世界。 　　舌尖上的故事：甜蜜诱惑 Eat: The Story of Food: Sugar Rushes 2015年5月12日 　　人类一直拼命满足自己对甜食的强烈渴望，从而摄取主要的能量。糖分有助于兴建帝国，糖分甚至点燃了工业革命。甜的碳酸饮料和加工的甜点容易满足人们的口腹之欲。从几千年前，印度首次提炼甘蔗，一直到最新的高科技糖果工厂，人类一直在发展更新更好的方式，提供我们不能缺少的味道。 　　舌尖上的故事：罪恶欢愉 Eat: The Story of Food: Guilty Pleasures 2015年5月13日 　　本期节目的主角是垃圾食品。许多国家都拥有独具特色的垃圾食品，但美国的垃圾食品比较商品化。垃圾食品因携带方便、口感好等原因深受人们喜爱。垃圾食品能够给人们带来满足感和精神上的愉悦，比较典型的垃圾食品有薯片、罐头、麦当劳、跳跳糖等，尽管知道它们不利于健康，但有些人还是很喜欢吃。

明治末年，大正初期，十市是一名将家安在河边的船夫，他每天的工作是划船接送形形色色的人过河。为了方便村民的出行，一座横跨河两岸的桥即将落成。村民兴高采烈地讨论着桥落成后的便利，只有十市对此有着复杂的感觉。某日，他从河里救了一名受伤的神秘年轻女子。无处可去的她最终只能返回十市家中，这次邂逅开始改变了十市的生活。小田切让首次执导长片，入选威尼斯电影节威尼斯日单元，浅野忠信、苍井优、永濑正敏亦有参与演出。

明治末年，大正初期，十市是一名将家安在河边的船夫，他每天的工作是划船接送形形色色的人过河。为了方便村民的出行，一座横跨河两岸的桥即将落成。村民兴高采烈地讨论着桥落成后的便利，只有十市对此有着复杂的感觉。某日，他从河里救了一名受伤的神秘年轻女子。无处可去的她最终只能返回十市家中，这次邂逅开始改变了十市的生活。小田切让首次执导长片，入选威尼斯电影节威尼斯日单元，浅野忠信、苍井优、永濑正敏亦有参与演出。

This simple story of a mother and daughter finds them struggling to find work and food in Paris. Micheline Bezancon is the expressionless young mother who alone worries about the future of her and her daughter. Filmed in black and white, the directorial approach is as simple as the title. She engages in a poignant narrative about her daily life. Half of the time the screen is black, evoking a feeling of despair that permeates the feature. 　　Shot in 16 mm in Paris & its suburbs and co-produced by French television on a very low budget. This was inspired by an item on the back page of a newspaper. The essence of the film is captured by its first person voice-over commentary, and was considered "one of the few genuine masterpieces in the entire history of cinema" by film theorist Noel Burch. The film is not available in English translation, either dubbed or subtitled. But it works very well in simultaneous translation, if prepared in advance.

This simple story of a mother and daughter finds them struggling to find work and food in Paris. Micheline Bezancon is the expressionless young mother who alone worries about the future of her and her daughter. Filmed in black and white, the directorial approach is as simple as the title. She engages in a poignant narrative about her daily life. Half of the time the screen is black, evoking a feeling of despair that permeates the feature. 　　Shot in 16 mm in Paris & its suburbs and co-produced by French television on a very low budget. This was inspired by an item on the back page of a newspaper. The essence of the film is captured by its first person voice-over commentary, and was considered "one of the few genuine masterpieces in the entire history of cinema" by film theorist Noel Burch. The film is not available in English translation, either dubbed or subtitled. But it works very well in simultaneous translation, if prepared in advance.

1940年代末黎巴嫩即将陷入战争时，一对兄妹埃米莉和埃米尔逃往巴西。他们在亚马逊的马瑙斯市开始新生活。埃米莉爱上了商人奥马尔，而埃米尔因嫉妒而挑起事端。在一次争吵中，埃米尔受伤，被奥马尔带往亚马逊丛林寻找巫医救治。埃米尔康复后，埃米莉与奥马尔成婚。而此时，一场悲剧也同时发生。这部电影不仅是对移民过程的描绘，更是对记忆、激情和偏见的深刻探讨。

1940年代末黎巴嫩即将陷入战争时，一对兄妹埃米莉和埃米尔逃往巴西。他们在亚马逊的马瑙斯市开始新生活。埃米莉爱上了商人奥马尔，而埃米尔因嫉妒而挑起事端。在一次争吵中，埃米尔受伤，被奥马尔带往亚马逊丛林寻找巫医救治。埃米尔康复后，埃米莉与奥马尔成婚。而此时，一场悲剧也同时发生。这部电影不仅是对移民过程的描绘，更是对记忆、激情和偏见的深刻探讨。

In a documentary about Samuel Fuller, the spectator gets different impressions about the Hollywood director and his films. The film is divided into the three sections: The Typewriter, the Rifle and the Movie Camera. The first segment covers Fuller's past as a newsman where he began as a copy boy and ended as a reporter. Part two describes Fuller's experiences in World War II, in which he participated as a soldier. The last section focuses on Fuller as director. Tim Robbins interviews Samuel Fuller revealing the director's own memories and impressions. Beside the interview, Jim Jarmusch, Martin Scorsese and Quentin Tarantino accompany the documentary with their comments. Written by Gerhard Windecker {[email protected]}