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。

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。

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?

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。

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。

该片为2019年红极一时的宇宙题材纪录片《行星》的续集，探索太阳系行星和卫星每天发生的神秘事件，带领观众在太阳系中进行五次史诗般的旅行，目睹最不可思议的现象，探索每一个现象是如何拓展我们的认知极限的。

做好踏入外星世界的准备，就好像你是真的走进了那个世界。冰雪形成的巨大喷泉高达10万米；冰冻的冰壳下面隐藏着一片汪洋；相当于地球两倍的风暴被尘埃和气体的漩涡染成了血红色；巨大的火山爆发可将一颗行星撕裂。这部纪录片将展示太阳系真实而令人敬畏的美丽。通过从太空直接发回的最新图片，利用具有开创性意义的CGI技术使静态画面充满戏剧感。从太阳到遥远的海王星，这部纪录片的核心是展示太空中的探测器、巡航器和望远镜传回的最新科学资讯，并带领观众完成一次生动且前所未有的太空之旅。

金牌销售许亮没有航天背景，却用三十年赌上一切跨界逐梦，从被嘲“发疯”的空想家到助力国家队破解国际技术围堵的航天民营企业家，他证明：太阳系公民，不看出身，只看是否敢为人类。