大学生施济光在一次偶然的观测中，穿越到了一个神秘的异世界雨林。这里不仅生存着本应灭绝的远古巨兽，还隐藏着古生物城邦的惊天秘密。在迷茫与危机交织的探索之旅中，施济光偶遇了同样流落此地的江晚灯。两人决定联手，在危机四伏的原始丛林中寻找回家的路。一路上，他们不仅要面对恶劣的生存环境与异兽侵袭，更在不断的冒险中，将古生物知识转化为生存本能。从观察恐龙的生活习性，到破译化石背后的演化密码，施济光与江晚灯在彼此扶持下，逐渐揭开了这个异世界与现实空间之间神秘的联系。这不仅是一场关于生存的博弈，更是一段探寻生命奥秘、重塑自然认知的壮丽旅程。

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。

June 2023, one year since Russia invaded Ukraine. In Kyiv, a class is visiting the Natural History Museum, guided by a paleontology teacher who transports the schoolchildren into a faraway and peaceful world, under the gaze of the great filmmaker S. Loznitsa. In spite of grief, the dreams and aspirations of Ukrainian children and adults keep the country going.

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.

一个安静的冬天，Mil·la回到了她夏日度假的小镇，期待能够重新联系到她的挚爱。然而，在一次激烈的争吵后，两人决定暂时分开，Mil·la独自留在了房子里。由于分手带来的悲痛和一个冬泳后突然出现的荨麻疹，Mil·la开始探索那座房子中隐藏的记忆。她穿梭于夏日的回忆之中，重新体验自己的性启蒙经历，最终理解了与父亲的关系。

生物的寿命从几天，几年，几十年到几个世纪都有，但它们最终都会走向死亡。然而有些动物既不怕死亡，也不惧时间的流逝。它们被称为缓步类动物，龙虾、裸鼠等动物拥有真正的超能力，能够对抗疾病和衰老。本片在试图解开它们不老之术的同时，也在提问-它们拥有永生的秘诀吗？

烟波岛上，发生了渔民失踪事件。晚上值班的渔民老林遇到了黑色黏液，从渔船消失。伴随老林的消失，一名神秘女孩进入了小镇。第二天，岛上的学生付君浩、张宇轩和游尚杰，偶遇了在地上挣扎的女孩，付君浩关心女孩，女孩却跑开了。付君浩三人追着女孩来到枯井边，女孩不见踪影，却发现井里有怪声。随后目睹了一条沾满黑色粘液的鱼从井中蹦出。地理课上，沙拉正在讲关于环境保护的内容，付君浩提出一起去渔船。晚上，付君浩等三人来到渔船，三人发现了神秘女孩躲在船上。付君浩出于好心，将女孩带回家中，只得将女孩收留在家中，女孩一个人在房间的时候，突然表情变得很奇异。此时，游尚杰在独自回家途中，遭遇“黑色黏液”袭击，消失的无影无踪。

A group of women afflicted with a horrible disease (which forces them to cannibalism) try to support one another.

一位怀揣抱负的年轻新闻记者，尽管清楚前方危险四伏，还是果断接受任务，前往新墨西哥沙漠，深入调查一处神秘地带。传闻这里频繁有人离奇失踪，真相却无人知晓。