The films of Ulrike Ottinger (b. 1942) are shaped by a fascination with place, a topical and topographical curiosity that drives their wanderlust across locales both imagined and real, from the fantastically spectral Berlin of the early Freak Orlando and the nostalgia shrouded Viennese amusement park of Prater, to the vast, remote steppes of Central Asia explored in Taiga and the busy banquet halls of present-day Seoul in The Korean Wedding Chest. Ottinger’s fiction films kaleidoscope a carnivalesque vision of the world, staging unpredictable encounters with a remarkably motley cast of “freak” outsiders – lovers, pirates, brigands, grafters and their adversaries. While Ottinger’s documentaries, in contrast, focus insightfully on the quotidian reality of everyday people, but are no less colorful and exuberant in their spirited exploration of the playful and poetic intersection of the traditional and contemporary. Born in Konstanz, Germany, Ottinger spent much of the 1960s working as a painter in Paris – where she also studied with the likes of Claude Lévi-Strauss and Louis Althusser – before launching her film career in Berlin in the early 1970s. Ottinger’s earliest films grow out of her close association with various Berlin subcultures and art scenes and involved collaborations with such luminary figures as Tabea Blumenschein, as well as Irm Hermann, Kurt Raab and Magdalena Montezuma, actors central to the Fassbinder scene. International recognition and reknown followed her first feature film Madame X (1977), which especially drew the interest of queer and feminist critics and scholars in the U.S. To this day Ottinger’s films are held up for their radicalness, not only of narrative but also of their treatment of sexuality and of gender itself. A Renaissance woman, Ottinger writes her own scripts, frequently operates the camera and even designs the often elaborate sets and costumes showcased in her films. The fall of the Berlin Wall and a massive funding crisis for “art cinema” coincided at the beginning of the 1990s to inspire a distinct shift in Ottinger’s cinema away from the theatrical extravagances of her early film work to a mode of carefully observed documentary. Yet uniting and cross-pollinating Ottinger’s documentary and fiction work are a set of running themes – a concern for the normative function of power and its ability to repress and ostracize difference; a nostalgia for the cosmopolitism of pre-war Central Europe; and a delight in the richness and beauty of “other cultures,” be they popular, archaic or simply non-Western. Taiga Directed by Ulrike Ottinger. Germany 1992, 16mm, color, 501 min. Mongolian and Tuvinian with English subtitles Ottinger returned to Mongolia to craft her incredible epic documentary portrait of reindeer herders on the far Northern steppes. While offering rare glimpses into the shamanic ceremonies, hunts, weddings and amusements that color the herders’ lives, Taiga uses its nine hours to resist any notion of the nomads as simply “exotic” by creating a fully immersive encounter with the Mongolians daily routines and rituals. Bearing mesmerizing witness to a world seemingly out of time, Taiga is ultimately a study in contrasts: between the vast steppes and the intimacy of the nomads’ private spaces, between the mobility of the nomadic life and the fixity of Ottinger’s camera, between pre-modern practices and their contemporary variations.

皮亚在英国旅行了大约6个月后，将回家过圣诞节。她想赶上她的男朋友Kristoffer，他本应该和她一起旅行，但在最后一刻退出了。然而，找到他是一项艰巨的任务。在寻找的过程中，她遇到了几个或多或少心怀不满的人。当圣诞老人出现时，事情开始发生。。。

“骑马送快递吧！”因兄弟间闲聊时瞎扯出的话开始横穿蒙古的送货之旅！ 26年好友化学反应的属龙俱乐部5人帮X新面孔老幺姜勋，为了给广阔原野上的蒙古牧民转交快递物品，坐车骑马翻山越水，甚至修路，长达2000公里越野旅程！ 蒙古无边无际的草原和金色的沙漠，倾泻而下的银河，永恒的万年雪， 还有数千只动物！

世界上许多关于哺乳动物时代的知识都埋葬于美国中心地带的广阔景观之下。从3400万年前到冰河世纪，开始一场史诗般的探险。进入史前世界，在哺乳动物统治至高时，开始一场化石狩猎之旅。加入古生物学家的研究，他们发现了化石，揭示了气候变化如何将北美炎热潮湿的森林转化为了冰冻草原。从大象、马、犀牛、骆驼、雷兽，到火山灰沉降层中的动物，跟随主持人迈克·维瑞斯，我们将在这一集的古生物侦探中深入美国大平原。

Working undercover on a human trafficking bust, maverick FBI agent Wade Dalton (Kaiwi Lyman), captures Serick Ibrayev (Sanjar Madi), a mysterious operative from the Mongolian underworld. With time running out, Wade must escort Serik back to Mongolia, and team up with hard-boiled police detective Ganzorig (Amra Baljinnyam), to deliver Serik to court to testify against a crime Syndicate that will do anything to stop them.

日前，由北京天际传媒历时3年制作完成的系列纪录片《蒙古女王》在北京正式发布。纪录片在尊重历史的基础上，再现了从13世纪蒙古帝国崛起到“隆庆和议”间风云变迁的历史长卷里，为民族团结、地区稳定、国家统一做出巨大贡献的蒙古族杰出女性代表的传奇故事。纪录片内容丰富、历史感厚重，为还原真实人物和历史，制作方走访辽宁、河北、北京、山西、内蒙古、新疆六省区市，参考中、英、日、蒙文文献书籍数百册，并邀请多位史学专家学者提供学术支持。

训练猎鹰、放牧牦牛、骑着骆驼行走于苍茫天地间，对于生活在都市的人来说，在蒙古西部的游牧生活奇妙得就像一场探险。作者有机会体验了一番当地哈萨克族游牧人的日常生活与独特文化。From Brandon Li

一个淳朴的牧羊人，英雄般地挫败了敌人入侵蒙古的阴谋，赢得了心爱女孩的芳心。

大学生施济光在一次偶然的观测中，穿越到了一个神秘的异世界雨林。这里不仅生存着本应灭绝的远古巨兽，还隐藏着古生物城邦的惊天秘密。在迷茫与危机交织的探索之旅中，施济光偶遇了同样流落此地的江晚灯。两人决定联手，在危机四伏的原始丛林中寻找回家的路。一路上，他们不仅要面对恶劣的生存环境与异兽侵袭，更在不断的冒险中，将古生物知识转化为生存本能。从观察恐龙的生活习性，到破译化石背后的演化密码，施济光与江晚灯在彼此扶持下，逐渐揭开了这个异世界与现实空间之间神秘的联系。这不仅是一场关于生存的博弈，更是一段探寻生命奥秘、重塑自然认知的壮丽旅程。

June 2023, one year since Russia invaded Ukraine. In Kyiv, a class is visiting the Natural History Museum, guided by a paleontology teacher who transports the schoolchildren into a faraway and peaceful world, under the gaze of the great filmmaker S. Loznitsa. In spite of grief, the dreams and aspirations of Ukrainian children and adults keep the country going.