2019年早春3月，湖北随州义地岗墓群枣树林墓地的抢救性发掘来到关键阶段。考古人员在143号墓里，清理出三件体型巨大的青铜器，分别是铜缶、铜簠和铜盘。之后发现的大量积石，让这座墓葬更添神秘色彩。在143号墓的棺内，还发现了大量精美绝伦、令人惊叹的玉器。敬请收看！

2019年早春3月，湖北随州义地岗墓群枣树林墓地的抢救性发掘进入关键阶段。在143号墓中，清理出了三件巨大的青铜器：铜缶、铜簠、铜盘。随后发现的大量积石又为这座墓葬蒙上了一层神秘的面纱。在143号墓的棺内，发现的还有大量的玉器，精美绝伦、令人惊叹。敬请收看！

故事描述一间以上流社会为服务对象，专门替客户解决“疑难杂症”的公关公司。为了处理纠纷而秘密组织了一队精英成员，帮助个案的苦主做危机控管，减低当事者的声誉、感情与家庭的伤害。剧中的男主角温昌渝（黄腾浩饰）是一个极度聪明，为求完成任务无所不用其极的电脑法医。外表乐观但内心却有段不为人知的秘密的他，遇到了极富正义感的邝芸香（刘子绚饰)。两人工作上是上司与下属的关系，每每因为个案而起争执，最后却“吵”出了感情，形成白天是“对头”，晚上是“情侣”的奇妙关系。《揭秘》将会以二至三集为一个案件单元，带出数个改编自真实网络个案的故事。

故事描述一间以上流社会为服务对象，专门替客户解决“疑难杂症”的公关公司。为了处理纠纷而秘密组织了一队精英成员，帮助个案的苦主做危机控管，减低当事者的声誉、感情与家庭的伤害。剧中的男主角温昌渝（黄腾浩饰）是一个极度聪明，为求完成任务无所不用其极的电脑法医。外表乐观但内心却有段不为人知的秘密的他，遇到了极富正义感的邝芸香（刘子绚饰)。两人工作上是上司与下属的关系，每每因为个案而起争执，最后却“吵”出了感情，形成白天是“对头”，晚上是“情侣”的奇妙关系。《揭秘》将会以二至三集为一个案件单元，带出数个改编自真实网络个案的故事。

猫头鹰以其独特的面孔和非凡的头部转动能力而成为最受我们喜爱的鸟。但我们很少在野外看到它们。这些神秘的鸟儿时常在深夜中出没，静悄悄地掠过黑暗。那么它们是如何在黑暗中看见东西以及悄无声息地飞行的呢？透过两只特别的谷仓猫头鹰雏鸟的眼睛，并在世界顶级科学家的帮助下，《自然世界》将展示猫头鹰超级能力背后的秘密。

通过探索我们常常不花时间去欣赏或理解的共同生物学，深入研究我们每个人内部的宇宙。 心脏，大脑，眼睛，血液，眼泪； “人类”不仅揭示了人体运作原理的科学知识，而且揭示了我们内在世界每时每刻的内在力量。 来自全球各地的人的个人资料成为有关人体许多系统功能的更深层次故事的切入点。

通过探索我们常常不花时间去欣赏或理解的共同生物学，深入研究我们每个人内部的宇宙。 心脏，大脑，眼睛，血液，眼泪； “人类”不仅揭示了人体运作原理的科学知识，而且揭示了我们内在世界每时每刻的内在力量。 来自全球各地的人的个人资料成为有关人体许多系统功能的更深层次故事的切入点。

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.