猫科动物都是神经质的美人，本片讲述了一千多万年的猫科进化史，各种大小喵全体开挂，既有神级技能，又萌得无以复加。 　　在纪录片《猫科动物：奇妙的动物家族》中生物学家Patrick Aryee环球亲密接触各种大猫小喵，泰国云豹、南美狮子、西伯利亚虎、非洲狞猫、婆罗洲金猫、加拿大猞猁和伯利兹虎猫等，讲述猫科动物如何在严酷环境中进化生存，以及喵星人如何占领蓝星人的家。 　　猫科动物，它有着令人眼花缭乱的身形、颜色和大小，但尽管有着这些差异，它们都拥有一个共同点，地球上的每只猫科动物，每一头狮子、猎豹，甚至我们身边不起眼的家猫，都是这一奇妙家族的一部分，这个由亲戚和敌手构成的家族在世代传承中，勇敢的探索了全球各地，并最终征服了我们星球的每一种地貌。 　　如今地球上有37种不同的猫科动物，他们漫步于冰冻的平原，浓密的丛林，闷热的沙漠，还有开阔的草原，它们是动物王国最成功的掠食者家族。那他们的秘密是什么？在本系列中我们要沿着猫科谱系树进行一场旅行，这是一场时间之旅，从一千一百万年前直到今日，我们要重新追寻它们戏剧般的崛起，我们会见到地球上最奇特和最罕见的猫科动物，并展现它们不同种类如何演化出超能力以在地球最狂野的地貌中繁荣昌盛。

A look at the relationship between big cats in the wild and our domestic pussycats, and the feline species' journey from hunters of the wild to household pets.

Jaguars: Brazil's Super Cats is an episode of Natural World starring David Attenborough. Strand of documentaries on wildlife and the environment. 　　《美洲虎：巴西的超级猫》是《自然世界》一集。一系列关于野生动物和环境的纪录片。

《博物馆》讲述的故事发生在1985年，一群罪犯为了嘲笑墨西哥人类学博物馆的安全指数，而去盗窃博物馆中的140多件前西班牙的文物。尽管电影取材于1985年发生的真实事件，电影与原始事件本身一样让人吃惊，它以精细的手法接近真相，又在每一个转折处进行重塑，并借鉴了多种电影类型 。

《博物馆》讲述的故事发生在1985年，一群罪犯为了嘲笑墨西哥人类学博物馆的安全指数，而去盗窃博物馆中的140多件前西班牙的文物。尽管电影取材于1985年发生的真实事件，电影与原始事件本身一样让人吃惊，它以精细的手法接近真相，又在每一个转折处进行重塑，并借鉴了多种电影类型 。

《博物馆》讲述的故事发生在1985年，一群罪犯为了嘲笑墨西哥人类学博物馆的安全指数，而去盗窃博物馆中的140多件前西班牙的文物。尽管电影取材于1985年发生的真实事件，电影与原始事件本身一样让人吃惊，它以精细的手法接近真相，又在每一个转折处进行重塑，并借鉴了多种电影类型 。

多姆是一家濒临倒闭的咖啡馆的咖啡师，他得到了一份意想不到的工作。这个提议来自一个咖啡馆的常客，Khatha，他点的咖啡他从来不喝。这份工作是在日落后才开门的一家奇怪的博物馆。几乎没有选择，多姆接受了卡沙的提议。第一天，一名员工告诉他博物馆闹鬼。被监督者禁止进入16区，多姆在里面受到诱惑。Khatha试图控制伤害，但是Dome无意中唤醒了一些东西，里面的几乎所有东西都设法溜走了。多姆承担起责任，并与卡沙一起，试图找到丢失的东西，以便让它们回到属于它们的地方。 　　Dome, a barista at a café on the verge of closure, receives an unexpected job offer. The offer comes from a café regular, Khatha, who orders coffee he never drinks. The job is at an odd museum open only after sunset. With few choices, Dome accepts Khatha's offer. 　　On his first day, an employee tells him the museum is haunted. Forbidden by the overseer from entering Zone 16, Dome is tempted inside. Khatha attempts to contain the damage, but Dome has unintentionally awakened things and nearly everything inside manages to slip out. Dome takes responsibility and, with Khatha, attempts to hunt down what went missing in order to return them to where they belong.

主持人吉米·多尔蒂走进英国自然历史博物馆的幕后，与博物馆工作人员进行近距离交流，探索该馆浩瀚藏品的秘密。 　　博物馆幕后是如何运作的？为何要保存7000万余件标本？馆中科学家们的研究工作，与当今世界有何关联？他们为保护生物多样性、防止热带传染病，又做出了何种贡献？ 　　共六集： 　　1. Museum in a Modern World.现代世界的博物馆 　　2. Digging up the Past. 挖掘过去 　　3. All Creatures Great and Small. 生物无巨细 　　4. Discovery. 发现无限 　　5. The Power of Insects. 昆虫力量 　　6. A Collection for the Future. 未来收藏

The Phantom Museum was originally commissioned by the Wellcome Trust as a video installation for the British Museum exhibition Medicine Man: The Forgotten Museum of Henry Wellcome, which ran from June to November 2003. This provided an opportunity for the public to examine some of the rarer items in the extraordinary collection of American-born pharmaceutical pioneer Sir Henry Wellcome (1853-1936), who assembled over 125,000 medical artifacts, many of which are currently stored in London's Science Museum and normally viewable by appointment only. 　　Typically, the Quay Brothers' film consists more of a series of impressions of the Wellcome collection than a guided tour, their approach summed up by its subtitle 'Random Forays into Sir Henry Wellcome's Medical Collection'. A linking device (shot on grainy black-and-white Super 8 stock) involves a man clad in a black suit and white gloves ascending staircases, warlking along corridors, switching on lights and investigating rooms full of cabinets bearing tantalising labels ('Shrunken Heads - Scalp'). 　　Interspersed with these are much sharper colour sequences, depicting various objects in Wellcome's collection. Sometimes they're displayed as static museum pieces, sometimes rotated, and occasionally animated. Many of the exhibits are explicitly sexualised, from the diagram demonstrating the use of a chastity belt (next to an example of the real thing) to tender Oriental sculptures of human lovemaking. Many of the collection's many dolls come apart to reveal their anatomically-correct innards - one female body has a baby in her walnut-sized womb, connected via an umbilical piece of string. 　　Prosthetic arms and legs abound, in one case attached to a live human body, while there are plenty of dead ones glimpsed in the collection's storerooms, their lipless mouths fixed in a permanent grin. If the film is often unsettling, this is less because of the Quays' proven feel for the uncanny than for the way the Wellcome collection itself inescapably exploits our most fundamental fears: of birth, sex, mutilation and death. 　　The Quays originally edited the film to pre-existing recordings of the music of Czech composer Zdenek Liska (previously featured in The Cabinet of Jan Svankmajer in 1984), but were unable to clear the necessary rights. In the final version, filmmaker-musician Gary Tarn provided a plangent semi-electronic accompaniment, occasionally interspersed with sound effects, notably in the shot of an old birthing chair and forceps being pressed into service on an invisible mother-to-be, whose baby can be heard crying as it emerges.

Don Wildman unearths relics from the world's greatest institutions to reveal secrets from the past. He examines each artifact to illuminate history's most incredible triumphs, sensational crimes and bizarre encounters.