联合国非裔黑人女医生安娜莎在非洲执行医疗任务时被一个奴隶贩子绑架了。从这一刻起，她的丈夫会做任何事情来找回她，惩罚恶人，但这并不是一件容易的事。。。

三个美国年轻友人，相邀到欧亚边境国乔治亚旅行，不料在行经偏僻的野地，其中一人误踩到当地国境战时期遗留下来的地雷，正忧心身处险地的当下，竟爆出两男一女友人间不可告人出轨关系，而正当三人争论是否彼此原谅，彼此背弃和寻求当地救援之时，一个外出打猎乔治亚住民出现，让原本站在地雷上急如热锅蚂蚁的青年，从此面临情爱与生死交关的抉择，倒底他的抉择能否获得老天的眷顾，脚踩地雷的他是否还有扭转局势的奇蹟？

本剧讲述了青年医生宫本步在担任整形外科医生的同时，还被任命兼任医院近年来开始大力发展的“山地诊疗科”。高中毕业以来，回到故乡长野的步，因为从小就在山里长大，所以一直对大山有着特殊的感情。作为医生，他没有什么特别的目标，志向也很迷茫，只是一副随大流的样子，但在山地医疗队的日子里，他开始一点点地成长。

A medic lives with his small and strange family between the mountains and every episode he comes across a situation with not only his patients but also his family and friends.

青原集创始人裴书航，为寻觅不看重物质的真挚伴侣，在相亲时故意隐藏身份，自报月薪六千。然而，这份“伪装”却引来误解与网络谣言，一度让他身陷风波。面对外界质疑，他始终坚守公私边界，恪守商业良心，不仅成功解决了农户的货品危机，更凭借其公司产品的扎实品质和创新包装设计，在激烈的市场竞争中脱颖而出，赢得广泛认可。在这一过程中，裴书航与懂得包装设计的林栀相遇。他们历经了身份误会、职场挑战，甚至一同面对山地险境。在共同解决问题的过程中，两人逐渐解开了彼此的隔阂与心结。最终，裴书航和林栀携手，不仅在事业上取得了辉煌成就，为社会创造了价值，更收获了一段真挚而纯粹的感情。

一名女记者遇到了一名持枪抢劫者，她并没有简单的选择报警，而是与之接触，当女记者与抢劫者达到心灵沟通时，这名持枪抢劫者做出了影响他一生的决定……

通过与生活在地球火山周边的人们和野生动物接触，我们揭示了火山对地球上生命的影响方式。这个故事的核心是一次前往世界上最活跃火山之一的开创性探险。一位生物学家想弄清楚地球上最顽强的生命形式是如何在沸腾的熔岩湖旁生存的。尽管火山具有破坏性……

位于美国亚利桑那州的Arcosanti是一座始建于20世纪70年代的城市实验室，其创始人Paolo Soleri，一名意大利建筑师，试图通过建造Arcosanti来实践他的“生态建筑”理论。然而Paolo于2013年去世之后，仍然留在这块土地上的人们对于Arcosanti未来的走向却没有达成一致的看法，这座城市实验室的建造因此近乎停滞，似乎难以完成Paolo生前的规划...... 2016年开始，导演冯可慧先后两次奔赴Arcosanti，在那里生活与学习的时光中，她也用影像记录了这座城市实验室目前的状况。建造为何停滞？居民们的想法是什么？Arcosanti对于当下的人们来说意味着什么？...这些问题都在影片中得到了某种展现。

A telephone rings in the dark—three times, pauses, then rings three times again. A fully-clothed figure lights a cigarette before rising from bed, dons a raincoat, then sets out into the night. Another figure emerges from the shadows, lights a cigarette, then discards a crumpled cigarette pack, which the first picks up and carries home. Back in his room, the first man places the refuse on his desk, paces apprehensively about his apartment before he finally removes the inner foil and examines it. After letting what it reveals sink in, he sets it on fire, and a cold look comes over his face... Thus begins The Thief, a 1952 cold war, espionage thriller—unique in that it is completely without dialogue—directed by Russell Rouse, and produced by Clarence Greene, who co-wrote the screenplay. Allan Fields (Ray Milland) is an award-winning nuclear scientist working at the Atomic Energy Commission research laboratory. He is also a spy, photographing top secret documents, then relaying the miniature film canisters back through an elaborate network to enemy agents in Egypt. His signal is the telephone, and his liaison outlines his assignments through instructions on his cigarette refuse, with nary a word spoken. It is a dangerous business, and one that creates many close calls—too close for comfort. When one of his assignments goes awry, the FBI begins to close in, and the race is on to leave the country before he is caught. The Thief has all the trappings of classic noir. Produced at the height of the "Red Scare," the film manages to maintain a constant state of tension, relying heavily on reaction shots and Herschel Burke Gilbert's riveting musical score. The cinematography heightens the effect, utilizing lighting and camera angles to convey the unspoken. Milland, who won an Oscar® for his role in Billy Wilder's The Lost Weekend, carries the part off to perfection, letting the audience read his character's thoughts solely through facial expression and body language. The direction also fools the audience into anticipating dialogue, then cleverly avoiding it. Only the Oscar®-nominated score and sound effects break the silence. This is a fascinating use of visuals to tell a story, and a gripping suspense film, which held my interest throughout, and aside from one sequence where Fields' conscience begins to plague him, the narrative is fairly straight forward, without much in the way of gimmickry. Avoid the back cover text because it gives away the ending, which was the only part that didn't really work for this reviewer. For those interested in cold war-era film noir, this is certainly worth a look, if for no other reason than its uniqueness.