曾经为了梦想离开，如今舞蹈又带着他回来。排湾族编舞家布拉瑞扬在职业生涯高峰，站在世界舞台上，却想与族人共享荣耀。于是他回到故乡台东创立舞团，带着一群年轻的原住民舞者，一同入山劳动、临岸吟唱，用身体将生活跳成舞作。看着这群随性又自由、多非科班出身的孩子，仿佛看见当年奋力从 部落朝外跳的自己——同样渴望登台纵舞，同样难获父辈认同。

南波万学长们在“读万卷书”的同时“行万里路”，实地打卡“地理教科书”中的美景，并用他们的学术知识、大神经验输出旅行中令人好奇、意想不到的知识点。

与外界和本国最近的经济起飞相隔绝，安哥拉南部的部落至今仍保持着另一个时代的民俗和生活方式。很少人能够接近马卡瓦那部落和木卡巴部落，这些被遗忘的种群上一次被旅游类书籍提及还要追溯到上世纪30年代。

Property developer Jamie has to evict some weird, post-modern hippies from a building. But they slowly drag him into their dark underworld of bizarre rituals and dangerous liaisons.

这位备受争议的新部落警察局长被迫与一名大城市警察合作，原因是联邦政府指控他贪污77英里。

一群伙伴们所乘的船受损，停靠在一座岛上，他们为了活命不得已与岛上的怪物做斗争，结果如何，让我们试目以待吧…… 　　---摘自CHD高清版之简介.

It is the word "horde" that had meant, for many countries and nations, bloody raids and being under humilating contribution for centuries - a strange and scary world with its own rules and customs. To be or not to be for Rus (Ruthenia), that is the price of the one-man mission as he is departing to this world to accomplish a feat. The film tells the story of how Saint Alexius, the Metropolitan of Moscow and Wonderworker of All Russia, healed the Tatar Queen Taidula, Jani-Beg's mother, from blindness, in 1357.

《Tribes》由Alex Tse执笔，根据Michael Geszel及Peter Spinetta的同名图画小说改篇，描述在20年后的未来，一种纳米病毒已经卷席了美国的西海岸，地区内因此灾祸而回到部落文化。直至有天某部落出现一个「老人」，是众人首次见到在病毒爆发后，仍在生的30岁以上人；这人可能是终结这病毒，解放他们的关键……不过有些部落却不想他们的「世界」改变。

自以为是的天才小猿，扰乱了部落一年一度的狩猎。为了部落的生计，爸爸们不得不深入未知的森林追捕猎物。然而传说中可怕的虫子，让爸爸们溃不成军，女汉子铃铛的爸爸甚至未能回到部落。为了证明自己，小猿不顾部落的禁令、长老的严规、伙伴们的阻挠，毅然决然带着铃铛冲向了森林。而此时，凶猛的大鸟正谋划着对部落的复仇行动。月圆之夜，经历了生死考验的小猿和铃铛能否找到爸爸。遇到传说中可怕的虫子，小猿还会对铃铛不离不弃吗。面对陷入被复仇攻击的部落，孩子们能创造奇迹吗。一次欢乐和泪水的冒险，一场友谊与亲情的陪伴。不成熟的孩子与不成熟的家长在多彩的经历中，相互陪伴，共同成长 。

The field of anthropology goes under the magnifying glass in this fiery investigation of the seminal research on Yanomami Indians. In the 1960s and ’70s, a steady stream of anthropologists filed into the Amazon Basin to observe this "virgin" society untouched by modern life. Thirty years later, the events surrounding this infiltration have become a scandalous tale of academic ethics and infighting. 　　The origins of violence and war and the accuracy of data gathering are hotly debated among the scholarly clan. Soon these disputes take on Heart of Darkness overtones as they descend into shadowy allegations of sexual and medical violation. 　　Director José Padilha brilliantly employs two provocative strategies to raise unsettling questions about the boundaries of cultural encounters. He allows professors accused of heinous activities to defend themselves, and the Yanomami to represent their side of the story. As this riveting excavation deconstructs anthropology’s colonial legacy, it challenges our society’s myths of objectivity and the very notion of “the other.”