「天生我才必有用」羅穎詩誤信師長的讒言，認定寫歌詞是她這輩子的使命，立志要當填詞人！好事多磨，儘管阿詩扭盡六壬、奇招百出，一邊增進填詞功力、一邊廣結善緣，仍未能成功入行，做不成填詞人，反淪為填詞L。「只要有恆心，鐵柱磨成針」，填詞L揹著夢想的包袱在填滿遺憾的道上狂奔！電影史上首部關於粵語歌詞的作品，由新世代填詞人兼金像獎新演員鍾雪瑩主演、新晉導演黃綺琳編導，繼《金都》後又一清新細膩之作，不容錯過。

「天生我才必有用」羅穎詩誤信師長的讒言，認定寫歌詞是她這輩子的使命，立志要當填詞人！好事多磨，儘管阿詩扭盡六壬、奇招百出，一邊增進填詞功力、一邊廣結善緣，仍未能成功入行，做不成填詞人，反淪為填詞L。「只要有恆心，鐵柱磨成針」，填詞L揹著夢想的包袱在填滿遺憾的道上狂奔！電影史上首部關於粵語歌詞的作品，由新世代填詞人兼金像獎新演員鍾雪瑩主演、新晉導演黃綺琳編導，繼《金都》後又一清新細膩之作，不容錯過。

维京人（英语：Viking，丹麦语：Viking，挪威语：Viking，冰岛语：Víkingar）是诺尔斯人的一支 （斯堪的那维亚人），他们是从公元8世纪到11世纪侵扰并殖民欧洲沿海和英国岛屿的探险家，武士，商人和海盗。其足迹遍及从欧洲大陆至北极广阔疆域，欧洲这一时期被称为“维京时期”（Viking Age），在英语中，这个词是从18世纪的传奇故事中引入的，有一种说法认为可能是来源于古代北欧人的古北欧语语言，“vik”意思是“海湾”，“ing”意思是“从……来”，加起来“维京”意思是在海湾中从事某种事，“vikingr”是在海湾中从事这种事的人。另一种说法认为是来源于古英语“wíc”意思是“进行贸易的城市”，因为后来部分维京人定居到不列颠岛，并和当地人进行贸易。他们在公元800到1070年处于统治地位，对海上交通构成威胁。 　　“vikingr”这个词曾经出现在斯堪的纳维亚半岛的古代卢恩文石碑上面，在冰岛的土语中也意味着“海上冒险”。在英语中“wicing”这个词首先出现在6世纪的古代盎格罗-撒克逊的诗歌中，意思就是海盗，但当时英国人并没有将北欧海盗称为维京。在中古英语中“维京”这个词已经消失了，但18世纪时又重新出现在传奇故事中，到了20世纪，“维京”不仅指海盗，意义扩展为指斯堪的纳维亚人，并出现许多新词如：“维京时代”，“维京文化”，“维京殖民地”等。不要和valhalla混淆，那是维京人传统中天堂的意思。 　　由于后来斯堪的纳维亚人沿着芬兰、俄罗斯平原的河流从事商业活动直到东罗马帝国，并在河流沿岸设立殖民地定居，所以后来将来自斯堪的纳维亚的商人也称作维京，北美洲的斯堪的纳维亚人也被说英语的人称为维京。实际上并不是所有斯堪的纳维亚人都是海盗，他们和其他地区的欧洲人一样也是农民、渔夫和猎人，他们为了防止海盗入侵也成立了舰队，将所有的斯堪的纳维亚人都称为维京会造成混淆。 　　——维基百科，维京人 　　Neil Oliver周游四方来搜寻关于被正史认为是一群肆虐在基督教大地上的嗜血海盗的维京人 的真实历史。 　　第一集 　　Neil Oliver出发去往斯堪的纳维亚来揭示维京传奇背后的真相。在第一集中，Neil以维京人史前祖先的神秘世界为出发点。装满武器的战船的残骸，青铜时代的长发农民，以及位于瑞典的一个皇宫和令人毛骨悚然的异教仪式场所勾画出了一个远古时期的开端——维京时代。 　　第二集 　　Neil Oliver从斯堪的纳维亚出发去往俄罗斯，土耳其和爱尔兰来追寻一个能够像处理皮克特奴隶一样熟练地处理中国丝绸的巨大贸易帝国的开端。他发现了一个充满大眼晶晶的女仆和佛教雕像的世界，这跟英国经历中的挥舞着战斧的勇士的世界大相径庭（当然其中的有一小部分还是准确的）。 　　第三集 　　Neil Oliver通过追寻斯堪的纳维亚人的发现之旅，最先的丹麦国王，以及打开通往欧洲高等社会的皈依基督教来探索维京世纪是如何结束的。他也发现了英国国王Canute的真相 - 他并不是一位高傲的认为他可以阻挡一切变化潮流的领导者，而是统治一大片北方帝国的维京统治者以及最早的欧洲标准的接收者。

The Story of Looking sees Mark Cousins prepare for surgery to restore his vision. Cousins explores the role that visual experience plays in our individual and collective lives. In a deeply personal meditation on the power of looking in his own life, he guides us through the riches of the visible world, a kaleidoscope of extraordinary imagery across cultures and eras. At a time when we are more assailed by images than ever, he reveals how looking makes us who we are, lying at the heart of human experience, empathy, discovery and thought. He shares the pleasure and pain of seeing the world, in all its complexity and contradiction, with eyes wide open. As the COVID-19 pandemic brings another dramatic shift of perspective, he reaches out to other lookers for their vision from lockdown, and travels to the future to consider how his looking life will continue to develop until the very end.

中央广播电视总台央视中文国际频道播出的一部关于新疆的微视频

We take our liberties for granted. They seem absolute and untouchable. But they are the result of a series of violent struggles fought over 800 years that, at times, have threatened to tear our society apart. On the frontline was a document originally inked on animal skin – Magna Carta. Distinguished constitutional historian David Starkey looks at the origins of the Great Charter in 1215 to check the abuses of King John - and how it nearly died at birth. He explores its subsequent deployment, its contribution to making everyone – even the monarch – subject to the rule of law, and how this quintessentially English document migrated to the North American colonies and eventually became the foundation of the US constitution. Magna Carta has become a universal symbol of individual freedom against the tyranny of the state, but with ever-tightening government control on our lives, is it time to resurrect it?

The movie tells the story of Imri, who at 19 goes to live in Tel- Aviv, but dreams of moving to Japan. Through his relationships and encounters and in diverse cinematic tools, we are introduced to the young man's life. An exploration of living in the exotic city of Tel Aviv is presented through a hero who is himself in the midst of exploring his own choice of an exotic place. A unique correlation is formed between the hero's misconception of Japan and ours of him. 　　The movie was constructed by both improvised and pre-scripted scenes, as required by the nature of each scene.

The movie tells the story of Imri, who at 19 goes to live in Tel- Aviv, but dreams of moving to Japan. Through his relationships and encounters and in diverse cinematic tools, we are introduced to the young man's life. An exploration of living in the exotic city of Tel Aviv is presented through a hero who is himself in the midst of exploring his own choice of an exotic place. A unique correlation is formed between the hero's misconception of Japan and ours of him. 　　The movie was constructed by both improvised and pre-scripted scenes, as required by the nature of each scene.

这部纪录片由英国电影评论家、被称为“电影贩毒者”的马克·卡曾斯，根据自己撰写的同名著作拍摄而成，摄制期长达5年，跨越六大洲，展现了近120年的世界电影史及近千部电影作品。影片用电影化的方式讲述了电影史，探索电影人的创作如何被特定历史事件影响，而电影人之间又是怎样互相启发的。

这部纪录片由英国电影评论家、被称为“电影贩毒者”的马克·卡曾斯，根据自己撰写的同名著作拍摄而成，摄制期长达5年，跨越六大洲，展现了近120年的世界电影史及近千部电影作品。影片用电影化的方式讲述了电影史，探索电影人的创作如何被特定历史事件影响，而电影人之间又是怎样互相启发的。