你以為很了解自己都想些什麼？你最好再想一想… … 　　四位操縱人心的高手利用狡詐的心理學技巧 　　在Discovery頻道全新系列節目《洗腦大師》中玩弄不知情的民眾 　　Discovery頻道全新的原創系列節目《洗腦大師》即將讓你目眩神迷、大開眼界。本系列節目共有10集，將由四位Discovery頻道的新面孔，揭露世上最熟悉、最迷人也最有趣的主題：「人心」背後的秘密。看他們如何讓男子忘記未婚妻、讓陌生人把自己的車鑰匙交出來、讓230磅重的拳擊手忽然無法捏碎保麗龍杯。收看《洗腦大師》，用你自己的雙眼見證這一切。本系列節目將於9月5日起，每週五晚間9點於Discovery頻道首播，並於每週一中午12點重播。 　　《洗腦大師》將示範在懂得操控人心的大師面前，無論我們以為自己的心智有多麼堅強都會變得非常脆弱。運用各種心理學技巧，從催眠到同儕壓力、守規與服從權威，專家們要讓觀眾知道真正完全控制自我的人少之又少。多數人都很容易受到思想控制與騙術的影響，而且每個人都能學會如何影響別人，甚至也成為洗腦大師。 　　主持人包括說服大師艾利斯康蘭；世界級撲克玩家麗芙波瑞，她擁有物理學學位並充滿女性魅力；路易斯勒韋爾是催眠與感應專家，而皮特瓦德爾則是被視為全球魔術手法最巧妙的大師兼近距離魔術師。《洗腦大師》利用巧妙的心理學技巧與高超的洗腦手法操縱不知情的民眾，讓他們去做原本做不到或不願意做的事，而且這些不知情的民眾完全不知道自己的行為已受到別人控制。 　　如何利用暗示的力量把壯漢變得比小貓還軟弱? 疼痛其實只是心理因素嗎?大啖超辣辣椒卻感受不到辛辣?如何讓一個人在不斷獲勝之後，讓人認為自己擁有永立不敗的幸運符，並使他對運氣的信心堅定不已？跟著Discovery頻道的《洗腦大師》一起探索人心。

时装圈用了崇敬的字眼来称呼他：“大师”、“泰斗”、“权威”……而他于1月份举行的那场告别时装秀则被媒体描述为“泪花中的掌声”。当时巴黎的蓬皮杜中心内外聚集了几千位观众，从应邀的各界名流到在寒风中观看大屏幕直播的YSL衷心爱戴者。这场表演集中了圣洛朗40多年来设计的精华，而从历史的角度来看，这就是战后欧洲时装发展的重演：从最初解放女性的长裤套装、夹克上装，到经典的代表作“蒙瑞安色块”和“毕加索系列”，再到由他首创的黑色性感透视装，正如他所说的“时装并不仅是让女性更美，而是要在精神上支持她们，让她们变得更自信。。

《瑪布隆的滋味》一劇，是講述一位阿美族知名主廚張芮Likat‧Cidal(楊晴飾)，在失去味覺、被男友劈腿拋棄後回到家鄉部落，該如何重拾自己對於原住民族身份的認同及自信心，更要好好找回被自己無情疏遠的閨蜜胡詠安Sanya‧‘Adingo (李宣榕飾)之間的友情。出生於花蓮馬太林部落的張芮，從小就愛待在很會煮美食的奶奶身旁問東問西，願望就是成為世界第一的大廚。張芮從小最好的玩伴就是胡詠安，兩人的族名恰好一位是光(Likat)、一位是影('adingo)，也因此讓她們倆成了如影隨形的閨蜜，但隨著張芮家庭離異後，搬到台北生活，就開始漸漸疏離了詠安。張芮在男友Eric(蔡侑勳飾)的餐廳擔任主廚，Eric從小含金湯匙出生，國外留學長大，政商關係也很好，但舌燦蓮花又愛拈花惹草。某天張芮失去味覺被Eric得知後，他就更加肆無忌憚的劈腿、偷吃，導致張芮只好傷心地放棄夢想、離開台北，回到部落尋找自我與詠安。

作为著名小说《冷血》的作者，杜鲁门·卡波特(托比·琼斯)那充满传奇的一生同样广受世人的关注。四十七年前的11月15日，美国堪萨斯州的一座小镇里发…

库尔特（汤姆·希林 Tom Schilling 饰）的姨母曾经被关进过集中营，最终在纳粹医生卡尔（塞巴斯蒂安·科赫 Sebastian Koch 饰）的折磨下不幸死去。虽然库尔特幸运的在柏林墙建成之前逃往了西德，但他的整个童年时代都生活在纳粹的阴影之下，这给他的人格带来了极大的创伤。 　　之后，库尔特进入了杜塞道夫美术学院就读，无法走出过去阴影的他将内心的绝望和伤痛都挥洒在了画布之上。一次偶然中，库尔特邂逅了名为艾利（葆拉·贝尔 Paula Beer 饰）的女孩，美丽活泼的艾利渐渐的治愈了库尔特内心的伤痕，当两人鼓起勇气想要将关系再推进一步时，却遭到了艾利父亲的强烈反对。

库尔特（汤姆·希林 Tom Schilling 饰）的姨母曾经被关进过集中营，最终在纳粹医生卡尔（塞巴斯蒂安·科赫 Sebastian Koch 饰）的折磨下不幸死去。虽然库尔特幸运的在柏林墙建成之前逃往了西德，但他的整个童年时代都生活在纳粹的阴影之下，这给他的人格带来了极大的创伤。 　　之后，库尔特进入了杜塞道夫美术学院就读，无法走出过去阴影的他将内心的绝望和伤痛都挥洒在了画布之上。一次偶然中，库尔特邂逅了名为艾利（葆拉·贝尔 Paula Beer 饰）的女孩，美丽活泼的艾利渐渐的治愈了库尔特内心的伤痕，当两人鼓起勇气想要将关系再推进一步时，却遭到了艾利父亲的强烈反对。

Dream Work does not so much present dream content than filmic methods of representation corresponding to Freudian dreamwork: mechanisms of displacement and condensation are seen in relation to figurative elements found in Tscherkassky’s source material. Tscherkassky processes these in a manner that resembles Freud’s description of the compression (Pressung) of dream thoughts that takes place in the work of dreams, whereby “components are turned, crumble, and get pushed together, like drift ice.” 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14624

Dream Work does not so much present dream content than filmic methods of representation corresponding to Freudian dreamwork: mechanisms of displacement and condensation are seen in relation to figurative elements found in Tscherkassky’s source material. Tscherkassky processes these in a manner that resembles Freud’s description of the compression (Pressung) of dream thoughts that takes place in the work of dreams, whereby “components are turned, crumble, and get pushed together, like drift ice.” 　　源自：https://www.filmfestival.gr/en/section-tiff/movie/1241/14624

For every movie made, dozens of pictures remain missing forever. MISSING PICTURES gives directors a chance to tell the story that would otherwise never be told. Each episode invites one filmmaker to narrate some key points of the movie, why the movie was so important for them at the time and why it was never made. 　　Episode 1: Abel Ferrara, Birds of Prey (USA) 　　In this episode, we meet long-time independent American filmmaker Abel Ferrara. ‘Birds of Prey‘ would have been the political thriller of his dreams…until it all fell apart. The neo-noir, provocative director behind movies like Ms. 45 (1981) and Bad Lieutenant (1992), takes us with him on a journey through the heart of his unfinished story based in the 70’s New York City. 　　Episode 2: Tsai Ming-Liang, The Seven-Story building (Taïwan) 　　Tsai Ming-Liang, the Taiwanese maestro of slow cinema, doesn’t have a real “missing picture”, but what he does have are childhood memories, so vivid that it is impossible for him to film. The filmmaker seizes the medium of virtual reality to go back to the Malaysia of his childhood, when his grandparents took him to see two movies every night. Rather than telling us about an unmade film, Tsai Ming-Liang transforms the exercise into a making-of of his entire film career. 　　Episode 3: Catherine Hardwicke, The Monkey Wrench Gang (USA) 　　After Twilight Chapter 1’s huge box-office hit, American filmmaker Catherine Hardwicke tried to make an adaptation of The Monkey Wrench Gang by Edward Abbey, a cult book of the 70s American counterculture and a precursor of eco-activism. The director revisits this project which excited her so much and which became, because of the reluctance of the Hollywood studios, one of these umpteenth “ghosts of the garage”. 　　Episode 4: Lee Myung-Se, Father is gone (South Korea) 　　Father is gone could have been Lee Myung-se’s debut film, but slipped into a long hiatus instead. After thirty years busy directing unprecedented features in Korea like First Love or Nowhere to Hide, Lee finally brings the lost project back to life through virtual reality. Set against the backdrop of a family of three moving to the outskirts of Seoul in the 1960s – where the director himself grew up – Father Is Gone questions the place of the father in the traditional Korean culture. 　　Episode 5 : Naomi Kawase, Oh Debu (Japan) 　　The most celebrated female filmmaker from Japan revisits a project that she envisioned after her 2015 film Sweet Bean. Oh Debu tells the story of Aya, a 27-year-old, overweight and over romantic woman. Through this story, Naomi Kawase wanted to give herself a challenge trying to make a comedy, far from her naturalist, poetic previous work.