帥氣有禮的白袍醫師馬西莫，平日是牙醫診所的台柱、最有道德感的良友，也是妻小摯愛崇敬的父親。一家人住在靜謐郊區的泳池別墅裡，生活緊密相依，對他來說，忠於家庭與犧牲自我，就是獲得幸福人生的鐵律。然而一切就在某個酒後的夜晚變了調，隨著他步入地下室，荒誕的景象為他的滿分人生蒙上陰影。妻女的笑顏不再單純，生活也不似往日順遂，他不知道人生還有什麼可信。

帥氣有禮的白袍醫師馬西莫，平日是牙醫診所的台柱、最有道德感的良友，也是妻小摯愛崇敬的父親。一家人住在靜謐郊區的泳池別墅裡，生活緊密相依，對他來說，忠於家庭與犧牲自我，就是獲得幸福人生的鐵律。然而一切就在某個酒後的夜晚變了調，隨著他步入地下室，荒誕的景象為他的滿分人生蒙上陰影。妻女的笑顏不再單純，生活也不似往日順遂，他不知道人生還有什麼可信。

热播剧集《街头绝味：拉丁美洲》由《主厨的餐桌》的创剧人倾心打造，将带来一场全新的烹饪冒险之旅。最新一季前往拉丁美洲的六个国家，探索墨西哥瓦哈卡、巴西萨尔瓦多、阿根廷布宜诺斯艾利斯、秘鲁利马、哥伦比亚波哥大以及玻利维亚拉巴斯充满活力的街头美食文化。每集将突出介绍为各国美食注入生命的毅力和文化。

http://www.newsongfilmproject.org/ 　　The Power of Their Song is a 90-minute documentary film (currently in production) about beloved, Latin American folk-based musicians, most notably Victor Jara, who sang moving songs of freedom during times of dictatorship. 　　Their powerful songs, composed largely during the 1960's and 1970's, blend beautiful, and at times haunting, melodies with passionate and poetic lyrics expressing the hopes and fears of a generation of Latin Americans. 　　Known as Nueva Cancion, or New Song, this tradition of rural, folkloric music has continued to evolve, absorbing many different regional influences and taking on new creative forms. Well-known musicians from around the world have covered some songs in the tradition. 　　Using interviews to be filmed across South and Central America, the film will document the remaining major artists of this period, including: Roy Brown of Puerto Rico, Daniel Viglietti of Uruguay, Silvio Rodriguez of Cuba, Leon Gieco and Mercedes Sosa of Argentina, Chico Buarque of Brazil, Gabino Palomares of Mexico, as well as musicians from Venezuela, Nicaragua and other Latin American countries.

正当左翼政治在欧亚日渐式微，中国、日本等国相继摒弃社会主义、半社会主义体制，将就业和福祉、平等与均富弃之如敝履，大步迈向新自由主义之时，左翼政治却在素有坏资本主义标本之称的拉丁美洲甚嚣尘上，二十一世纪的社会主义在美国的后院诞生，前不久皮诺切特的去世，也象征着自由经济全球化信徒的嘉年华会，在中南美洲的寿终正寝： 　　被称为美国后院的拉丁美洲 　　在长期为贫富悬殊所苦恼的这个地区 　　左派政权陆续诞生 　　以丰富的石油、天然气资源为背景 　　与中国、印度等国急速靠近 　　开始与美国保持距离 　　美国对此深感忧虑 　　面对美国推行的军事、经济全球化 　　拉丁美洲的力量如今正在迅速增长 　　南美的民众 　　长期来呻吟在残酷的军事独裁 　　和悬殊的贫富差距两座大山之下 　　左派政权将如何克服这些难题 　　让我们追踪巴西和智利的挑战

Real people's terrifying tales of the chilling, unexplained and paranormal come to life with dramatic reenactments in this reality series.

马楚成之后还会开发“攻略”系列，下部是《美洲攻略》

Three young men from the Savannah of Niger leave their homeland to seek wealth and adventure on the coast and in the cities of Ghana. This film is the story of their travels, their encounters along the way, their experiences in Accra and Kumasi, and, after three months, their return to their families and friends at home. The film is part documentary, part fiction, and part reflective commentary. There was no portable sound synchronized equipment in the early 1950s when Jaguar was shot. Instead, Rouch had the main characters (his friends and "accomplices") improvise a narrative while they viewed the film, which was itself improvized along the way. The resulting soundtrack consists of remembered dialogue, of joking and exclamations, of questions and explanations about the action on the screen. 　　 　　Short-term, rural migration to the cities is common to much of contemporary Africa. Here we meet Lam the herdsman, Illo the fisherman and Damoure, their unsettled but literate friend. The three trek for more than a month south through Dahomey to Ghana, crossing the land of the Somba people (whose nudity shocks them), eating coconuts "more delicious than cheese," and delighting in the ocean with its waves and starfish. Eventually they part ways. Damoure and Illo go to Accra and Lam to Kumasi, where they find jobs as dockworker, foreman for a lumberman, and cattleherder for a city butcher. Having made their separate journeys, they meet again in Kumasi with a fourth friend, and set up an open-air stall, Petit a Petit, in which they hawk everything from alarm clocks to pictures of Queen Elizabeth. 　　 　　Financially successful but homesick, the friends decide to leave the excitement, turmoil and bewildering complexity of the city to return home to Niger before the rains. Lam rejoins his herd, enriched with a new umbrella and a lance; Illo, "magician of the river," catches a hippo and distributes everything he has brought from his journey to his family; and Damoure admires anew the beauty of Niger women. 　　 　　Yet although life in the village resumes as usual, Illo, Lam and Damoure have been "jaguars" in the city: sophisticated "keen young men" with fancy hairdos, cigarettes, sunglasses, money, and knowledge of the urban world. The film raises, but does not answer, questions about the meaning of this experience and the transformations it may entail in the lives of the returned youths. Jaguar, Thomas Beidelman has written, "does succeed in catch ing the flavor of what it must be like to pass to and from a modern city and a rural village in Africa . . . jaguar could be an eloquent document on the process of social change." 　　 　　The flavor, it might be added, is very gay. Rouch has pointed out that jaguar does not attempt to reveal the misery and pain of the annual migration, or the boredom of village life in the dry season (eight months of the year) when young men, no longer warriors as in the past, have nothing to do. Few men, in actuality, become "jaguars" in the carefree style of Damoure, Lam, and Illo. For most, the city is a struggle. Yet jaguar is nonetheless a vivid portrayal of the ideal of migration, a fantasy imparted through the improvised actions and spirited commentary of the characters. In this film Rouch has developed a form one might call "ethnographic fantasy," with an authenticity and reality as important, although quite different, from that of Rouch's own monograph on rural migration to Accra.

《美洲夜降临》拍摄于巴西利亚的一家动物园，那是该市数百种获救物种的栖息之地。在一个阴郁沉重的情境中，巨型食蚁兽、鬃狼、猫头鹰、木狐、水豚和狞獾与生物学家、兽医、看护人员和生态警察相遇。在濒临灭绝的情况下，对物种保护的挑战的认知被编织成一个复杂交织的议题。在这个迭代中，影片在诗歌、档案、短篇小说和对话中展开。在这个镜中幻象里，我们既看到又被看到。影片提出了这样一个问题，谁是真正的俘虏？

二战结束后，数百位纳粹分子逃至西班牙躲藏。到了1960年代，某位大屠杀幸存者加入特务行列，要向这些纳粹讨回公道。