由Matthew Weiner主创﹑执笔﹑制片﹑执导的首季8小时诗选剧《罗曼诺夫后裔》，以全球各地的独立故事联系在一起，每个故事中都有相信自己是罗曼诺夫后裔的人（罗曼诺夫是俄罗斯的一个王朝，曾有多位沙皇，而因为血统问题，令到出现血亲争议）。该剧预定明年上线。

The most vivid pages of Russian history and the establishment and consolidation of Russian state power are associated with the eighteen Russian Tsars of the House of Romanov which include such historic names as Peter the Great, Catherine the Great, Nicholas I and Alexanders I, II and III. The dynasty ended with the brutal assassination of the last Tsar, Nicholas II and his family by the Bolsheviks in Ekaterinburg in 1917. 　　The Romanov dynasty played a hugely important role in world history, and the series highlights the life stories and characters of the tsars, recounting their rise to power and their contribution to the dynasty, their merits and their faults, their achievements and mistakes, their victories and defeats in war. 　　The series also examines the Russian form of 'Caesarism' as a system of state administration - its advantages and drawbacks and how the Russian state changed under the Romanov's rule. 　　THE ROMANOVS is told in eight epic one-hour episodes using a unique combination of magnificent CGI animation and dramatic reconstruction with careful and accurate attention paid to each period.

The most vivid pages of Russian history and the establishment and consolidation of Russian state power are associated with the eighteen Russian Tsars of the House of Romanov which include such historic names as Peter the Great, Catherine the Great, Nicholas I and Alexanders I, II and III. The dynasty ended with the brutal assassination of the last Tsar, Nicholas II and his family by the Bolsheviks in Ekaterinburg in 1917. 　　The Romanov dynasty played a hugely important role in world history, and the series highlights the life stories and characters of the tsars, recounting their rise to power and their contribution to the dynasty, their merits and their faults, their achievements and mistakes, their victories and defeats in war. 　　The series also examines the Russian form of 'Caesarism' as a system of state administration - its advantages and drawbacks and how the Russian state changed under the Romanov's rule. 　　THE ROMANOVS is told in eight epic one-hour episodes using a unique combination of magnificent CGI animation and dramatic reconstruction with careful and accurate attention paid to each period.

Directed and edited by Esfir Shub. A devastating chronicle of Tsarist Russia from the eve of World War I until its brutal demise in the revolutions of February and October 1917, The Fall of the Romanov Dynasty comprises hundreds of films that Esfir Shub unearthed and rescued from damp cellars and other neglected corners of the Soviet Union, including newsreels and home movies taken by the Tsar’s own cameramen. Using the film splice as a cudgel, Shub contrasts the Imperial Family in opulent ballrooms, regal processions, and garden tea parties with the backbreaking toil of the masses, a bitter satire that makes the Revolution seem both historically inevitable and triumphant. One of the great pleasures of this Vertov retrospective is rediscovering the work of certain largely forgotten women filmmakers of the Soviet avant-garde, including Elizaveta Svilova, Vertov’s editor and wife, and Shub, who pioneered “found footage” cinema and was instrumental in the development of dialectical montage, collaborating with Sergei Eisenstein on the shooting scripts of Strike and Potemkin. (from moma.org)

Directed and edited by Esfir Shub. A devastating chronicle of Tsarist Russia from the eve of World War I until its brutal demise in the revolutions of February and October 1917, The Fall of the Romanov Dynasty comprises hundreds of films that Esfir Shub unearthed and rescued from damp cellars and other neglected corners of the Soviet Union, including newsreels and home movies taken by the Tsar’s own cameramen. Using the film splice as a cudgel, Shub contrasts the Imperial Family in opulent ballrooms, regal processions, and garden tea parties with the backbreaking toil of the masses, a bitter satire that makes the Revolution seem both historically inevitable and triumphant. One of the great pleasures of this Vertov retrospective is rediscovering the work of certain largely forgotten women filmmakers of the Soviet avant-garde, including Elizaveta Svilova, Vertov’s editor and wife, and Shub, who pioneered “found footage” cinema and was instrumental in the development of dialectical montage, collaborating with Sergei Eisenstein on the shooting scripts of Strike and Potemkin. (from moma.org)

金妮（珍妮弗·艾斯波西多 Jennifer Esposito 饰）、安妮（基拉·桑切斯 Kiele Sanchez 饰）、玛姬（丽兹·卡潘 Lizzy Caplan 饰）和罗斯（劳拉·布雷肯里奇 Laura Breckenridge 饰）是情同手足的四姐妹，他们的母亲在他们很小的时候就去世了，因此在三个妹妹的眼中，身为长姐的金妮肩负起了一部分做母亲的责任。 　　在父亲的辛苦拉扯之下，四姐妹总算顺利的长大了，然而，成年人的世界并不容易，他们每个人都面临着各自的难题。金妮必须解决她丈夫惹的一大堆麻烦。安妮刚刚经历了一段失败的恋爱，还没从失恋的痛苦中走出去。玛姬是浪迹情场的交际花。罗斯在实现自己的梦想和满足家人的期望之间不知该如何选择。

金妮（珍妮弗·艾斯波西多 Jennifer Esposito 饰）、安妮（基拉·桑切斯 Kiele Sanchez 饰）、玛姬（丽兹·卡潘 Lizzy Caplan 饰）和罗斯（劳拉·布雷肯里奇 Laura Breckenridge 饰）是情同手足的四姐妹，他们的母亲在他们很小的时候就去世了，因此在三个妹妹的眼中，身为长姐的金妮肩负起了一部分做母亲的责任。 　　在父亲的辛苦拉扯之下，四姐妹总算顺利的长大了，然而，成年人的世界并不容易，他们每个人都面临着各自的难题。金妮必须解决她丈夫惹的一大堆麻烦。安妮刚刚经历了一段失败的恋爱，还没从失恋的痛苦中走出去。玛姬是浪迹情场的交际花。罗斯在实现自己的梦想和满足家人的期望之间不知该如何选择。

The Hippocratic Oath (France, 2017, 89m) 　　Baluty (France, 2017, 64m) 　　The Merry Flea (France, 2017, 52m) 　　Noah’s Ark (France, 2017, 68m) 　　Since 1999, Claude Lanzmann has made several films that could be considered satellites of Shoah, comprised of interviews conducted in the 1970s that didn’t make it into the final, monumental work. He has just completed a series of four new films, built around four women from four different areas of Eastern Europe with four different destinies, each finding herself unexpectedly and improbably alive after war’s end: Ruth Elias from Ostravia, Czechoslovakia; Paula Biren from Lodz, Poland; Ada Lichtman from further south in Krakow; and Hannah Marton from Cluj, or Kolozsvár, in Transylvania. “What they have in common,” wrote Lanzmann, “apart from the specific horrors each one of them was subjected to, is their intelligence, an incisive, sharp and carnal intelligence that rejects all pretence and false reasons—in a word—idealism.” What is so remarkable about Lanzmann’s films is the way that they stay within the immediate present tense, where the absolute horror of the shoah is always happening.

The Hippocratic Oath (France, 2017, 89m) 　　Baluty (France, 2017, 64m) 　　The Merry Flea (France, 2017, 52m) 　　Noah’s Ark (France, 2017, 68m) 　　Since 1999, Claude Lanzmann has made several films that could be considered satellites of Shoah, comprised of interviews conducted in the 1970s that didn’t make it into the final, monumental work. He has just completed a series of four new films, built around four women from four different areas of Eastern Europe with four different destinies, each finding herself unexpectedly and improbably alive after war’s end: Ruth Elias from Ostravia, Czechoslovakia; Paula Biren from Lodz, Poland; Ada Lichtman from further south in Krakow; and Hannah Marton from Cluj, or Kolozsvár, in Transylvania. “What they have in common,” wrote Lanzmann, “apart from the specific horrors each one of them was subjected to, is their intelligence, an incisive, sharp and carnal intelligence that rejects all pretence and false reasons—in a word—idealism.” What is so remarkable about Lanzmann’s films is the way that they stay within the immediate present tense, where the absolute horror of the shoah is always happening.

The story of the last year and a half of Tsar Nicholas II and his family from the February Revolution of 1917 to their execution in July 1918