ヤクザと人権問題に迫ったドキュメンタリー作品。製作は、戸塚ヨットスクール事件を扱った「平成ジレンマ」、四日市公害問題を扱った「青空どろぼう」など、さまざまな社会問題を取り上げた作品を世に送り出している東海テレビ。暴力団対策法、暴力団排除条例の施行以降、ヤクザや暴力団の構成員数が減少に向かっている。これまで以上の逆風の中で、彼らヤクザはどのような日常を送り、何を考えているのか。大阪の指定暴力団「二代目東組二代目清勇会」にカメラが入り、これまで見えなかったヤクザの現実を記録。「清勇会」会長は、カメラの前で「ヤクザとその家族に人権侵害が起きている」と語りはじめる。2015年3月に放送され、反響を呼んだドキュメンタリー番組の劇場版。

Breathing new life into the traditional civics lesson, Peter Sagal, host of NPR's "Wait, Wait ... Don't Tell Me," travels across the country on a Harley Davidson to find out where the U.S. Constitution lives, how it works and how it doesn't ... how it unites us as a nation and how it has nearly torn us apart. Sagal introduces some major constitutional debates today and talks with ordinary Americans and leading constitutional experts about what the Constitution actually says and what it means, the dramatic historical events and crises that have defined it, and why all this matters.

十五岁的海蒂施雷克通过赢得全美各地的《宪法》辩论赛赚取了大学学费。在这部风趣幽默、乐观积极又充满了对人性哀叹的节目中，海蒂通过重现青少年时期的自己，以追寻四代女性与塑造她们人生的建国文献之间的深层关系。

This 8-part series explores how The Constitution came to be; why it has protected Americans from abuse of power and, tyranny; and how the principles set forth so long ago have empowered Americans to a spire to greatness, excelling in the arts, the sciences and technology.

揭开尘封在浩瀚历史中的往事，秘话一段段跌宕起伏的传奇故事。

弗耶科（内博伊沙·格洛戈瓦茨 Nebojsa Glogovac 饰）是一名高校教授，专门研究克罗地亚历史。在一场意外中，弗耶科身受重伤无奈住院，负责照料他的是一位名叫玛雅（克塞尼娅·马林科维奇 Ksenija Marinkovic 饰）的护士。在玛雅的精心照料下，弗耶科的身体情况渐渐好转，除了照顾他，玛雅还照顾着弗耶科生活不能自理的父亲。 　　弗耶科对于玛雅的无私奉献感到十分的感激，想要找个机会报答她。巧合的是，玛雅的丈夫安迪（德扬·阿西莫维奇 Dejan Acimovic 饰）是一名警察，即将参加克罗地亚宪法考试，但他对此是一窍不通。弗耶科决定帮助安迪补习克罗地亚历史，由此引发了一连串的意外。

2007年是日本国宪法公布六十周年。这部被誉为和平宪法的宪法，由盟国占领军总司令部民政局的二十余名年轻人，在短短一周之内秘密起草而成，随后以日本政府名义颁布实施。起草者多有自由主义倾向（如本片中出现的贝蒂·哥顿就是位女权论者），除个别人有律师经验以外，没有一位法理学者。遵照麦克阿瑟三原则，并参照各国宪法拟定而成的这部宪法，颁布至今未作任何修改，对日本战后的和平发展起了无可估量的作用，但从诞生之日起，它也一直未能摆脱备受责难的命运。而在步入即将完成历史使命的花甲之年，却传来发自邻国的一片恋恋之声。本片依据新近公开的历史资料和当事人的证言，详尽叙述了宪法起草过程，和日本人在重要条文修改中所起的作用，以及中苏等国组成的远东委员会，对修宪的反对及其对条文内容产生的影响。

讲述了人类饮食习惯的改变过程，食物大批量生产所带来的一系列后果，以及肥胖与瘦弱的根源是什么，其中，一定有你想象不到的结论。

A masterwork of Sri Lankan cinema, this moving saga of family and class conflict was made by Lester James Peries, his country’s foremost filmmaker and a director much admired by India’s Satyajit Ray. 　　Gamperaliya is regarded as a cornerstone of Sri Lankan cinema, launching upon its release in 1964 ‘a revolution, not only in the way films were made, but also in the content,’ according to producer Anton Wickramasinghe. 　　Peries sought an alternative to the Bollywood-influenced melodramas that dominated Sri Lanka’s commercial cinema, writing stories that looked at the staple issues of melodrama in a more nuanced way. 　　The film, adapted from a novel by Martin Wickramasinghe, focuses on Piyal, a teacher and member of the new rising middle class, who falls in love with the daughter of his village’s leading aristocratic clan; the girl’s parents insist upon a marriage to a stuffed shirt of her own class, one that shifting social forces are already rendering obsolete. 　　Gamperaliya is filmed in an elegant and uncoercive narrative style that has been compared to Satyajit Ray’s Apu Trilogy; its aesthetic choices also have a moral dimension: at every level, this is a movie about the importance of setting aside illusion and exaggeration and seeing things as they are.