影片的故事发生在2056年，此时的世界并没有想象中的明亮与美好，而是处处充满了暴戾与混沌。一切都因为不久前爆发的一场大规模瘟疫，这场瘟疫使几乎所有…

该片摄于爱迪生电影公司Black Maria摄影棚，展示了健美运动员Eugen Sandow的肌肉形体。

该片摄于爱迪生电影公司Black Maria摄影棚，展示了健美运动员Eugen Sandow的肌肉形体。

关于赫尔佐格纪录片《忘梦洞》配乐幕后的纪录片。

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

If something characterizes Reichardt's work, it's that it always finds its characters downhill. And if that vivid decadence, that pain of not being anymore that transmit the characters in River of Glass, Old Joy and Wendy and Lucy, her three features, already causes anguish, those great moments of pain captured by the director intensify, through condensation, in each of her short subjects. Death is lord and master in the shorts Then, a Year and Travis, and also in Ode, the only mid-length film by this daughter of cops (him, scientific; her, narcotics). Then, a Year combines, without attempting any kind of narrative, Reichardt in her adoptive Portland with a pastiche that mixes statements from different shows about crimes of passion. This idea is resumed in Travis, video-installation where that focus that never reaches the image, sensed as violent close-ups of a fixed photograph, is centered in politics: Reichardt infinitely loops fragments from the interview with a mother that has lost her son Travis in Iraq, and who, in every little confession, leaves a piece of her heart. Lastly, in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America. in Ode, the director shows the courage for loving of two young Baptists, capturing, for three quarters of an hour, the story of a love that could never be between Billy Joe and Bobbie Lee, and its tragic outcome. And the inevitable one, because there's no place for the humbled joy of those poor old hearts in the oppressive world of the religious deep America.

这是一个关于大猩猩科科和研究人员佩妮?帕特森之间的独特故事。帕特森教会了科科使用手势语言，并相信它是黑猩猩拥有情感的活例子。人们对科科不平凡的生活经历的每个片段都进行了记录，本片对这些不同寻常资料中最让人难以置信和最动人的时刻进行了撷选，包括科科的爱情，失意，未能实现的妈妈愿望，以及为了让人们更加理解和保护猿猴而出任亲善大使的故事。在科科的44岁生日之际，本片为观众提供了一扇了解另一个物种感情世界的独特视窗。最重要的是，它将对我们人类自以为是的态度提出质疑。

중년의 대학교수가 초등학생 아들을 데리고 이혼한 아내의 집을 찾는다. 교수의 전처는 이혼 후 커밍아웃을 하고 레즈비언 파트너와 동거 중이다. 보호자 역할을 교대하는 과정에서 교수는 전처의 파트너와 단 둘이 남게 된다.

Anatomical Travelogue特效公司制作，Discovery频道推出的系列纪录片《人体奇航》，采用了核磁共振技术透视人体内部，展现人类从异性相吸到交合、受孕、分娩，乃至于发展成为男女的一段令人叹为观止的奇异旅程。本片为第一集。

Anatomical Travelogue特效公司制作，Discovery频道推出的系列纪录片《人体奇航》，采用了核磁共振技术透视人体内部，展现人类从异性相吸到交合、受孕、分娩，乃至于发展成为男女的一段令人叹为观止的奇异旅程。本片为第一集。