所有重访总统的人都通过引人入胜的档案画面、令人震惊的椭圆形办公室录音，以及令人信服的新采访，让水门事件栩栩如生，采访了那些使罪行永久化、追查罪行的人和描绘罪行的人。这篇演讲揭示了一个故事，这个故事始于一次“三流盗窃企图”，并升级为美国历史上第一次也是唯一一次总统辞职。一位杰出的演员讲述了这个故事，包括罗伯特·雷德福德、鲍勃·伍德沃德、卡尔·伯恩斯坦、达斯汀·霍夫曼、乔恩·斯图尔特、雷切尔·马多和其他人。

一对男女相约重游男友与兄弟遇害的命案现场，但这场旅程并非缅怀之旅，更掺杂了追溯死者生前最后生命轨迹的过程。

一对男女相约重游男友与兄弟遇害的命案现场，但这场旅程并非缅怀之旅，更掺杂了追溯死者生前最后生命轨迹的过程。

"My next short was Silver City – it, too, had an English title and consisted of eight shots. Each shot was as long as a 30-metre roll, so it in fact lasted a little more than three minutes. And all of the shots were long shots, extreme long shots. And they were all done from the third, fourth, or fifth floor of the apartments where I lived at the time. (I used to change apartments rather frequently.) And they all showed streets or crossings, first very early in morning, at three or half past three when they were completely empty, and the lights were turning from green to red to green again, when there were no cars or anything crossing the streets, and with that morning light where everything is blue. And I used to shoot them even without cutting the ends off the 30-metre rolls – at the end, the image would be turning yellow or red or quite simply white. I didn’t cut anything away." 　　"The second half consisted of shots in the evening, sometimes of the same places, the same streets, but with heavy evening traffic going out of the city. The film again used Mood Music, other pieces this time – each 20 seconds long and each repeated three times. The film was extremely contemplative. It was really like standing at a window and looking down on the streets, either completely empty or, on the contrary, completely stocked. Only in the very first shot was there anything like a hint of a story. The very first shot was of a railway line – just an empty landscape, very early in the morning, too, and after two minutes of a completely empty shot, someone crosses the rails from one side of the frame, and leave the frame on the other. Immediately after he has crossed the rails, the train appears: that is to say – the camera is very close to the rails and – bang – the train is in the shot, and he passes, and slowly disappears in the distance. You get the impression that maybe it’s the start of some kind of story, but nothing happens until the end. Just the empty streets, and the views out of the windows." 　　" I’m not sure why I called it Silver City. I still think it expresses the mood of the film very well – just the sound of the two words. Maybe it’s the alliteration that makes it. I don’t know."

"My next short was Silver City – it, too, had an English title and consisted of eight shots. Each shot was as long as a 30-metre roll, so it in fact lasted a little more than three minutes. And all of the shots were long shots, extreme long shots. And they were all done from the third, fourth, or fifth floor of the apartments where I lived at the time. (I used to change apartments rather frequently.) And they all showed streets or crossings, first very early in morning, at three or half past three when they were completely empty, and the lights were turning from green to red to green again, when there were no cars or anything crossing the streets, and with that morning light where everything is blue. And I used to shoot them even without cutting the ends off the 30-metre rolls – at the end, the image would be turning yellow or red or quite simply white. I didn’t cut anything away." 　　"The second half consisted of shots in the evening, sometimes of the same places, the same streets, but with heavy evening traffic going out of the city. The film again used Mood Music, other pieces this time – each 20 seconds long and each repeated three times. The film was extremely contemplative. It was really like standing at a window and looking down on the streets, either completely empty or, on the contrary, completely stocked. Only in the very first shot was there anything like a hint of a story. The very first shot was of a railway line – just an empty landscape, very early in the morning, too, and after two minutes of a completely empty shot, someone crosses the rails from one side of the frame, and leave the frame on the other. Immediately after he has crossed the rails, the train appears: that is to say – the camera is very close to the rails and – bang – the train is in the shot, and he passes, and slowly disappears in the distance. You get the impression that maybe it’s the start of some kind of story, but nothing happens until the end. Just the empty streets, and the views out of the windows." 　　" I’m not sure why I called it Silver City. I still think it expresses the mood of the film very well – just the sound of the two words. Maybe it’s the alliteration that makes it. I don’t know."

以抗美援朝战争第二次战役中的长津湖战役为背景，中国人民志愿军第九兵团七连战士们在伍千里等结束了新兴里和下碣隅里的战斗之后，七连战士们又接到了更艰巨的任务，为阻止美陆战一师撤退，在连长伍千里的带领下，慷慨奔赴咽喉之处，炸毁水门桥阻击敌军 。七连战士们兵分四路在水门桥外围克服敌军重点火力：突击组进攻指挥部，突击穿插，智取目标；火力支援组侦察敌情，协同作战；爆破组攻敌“心脏”，断敌退路；掩护组游击袭扰，灵活配合，最终成功炸毁水门桥，切断了美军退路 。

电影以抗美援朝战争第二次战役中的长津湖战役为背景，讲述了在结束了新兴里和下碣隅里的战斗之后，七连战士们又接到了更艰巨的任务……

由彼得•布拉茨执导的纪录片，基于大卫•林奇1985年在美国拍摄的电影《蓝丝绒》。彼得•布拉茨独家记录了《蓝丝绒》的整个制作过程，其中大部分素材从未公开过。在《重访蓝丝绒》中，导演从收集的电影影像、大量录音、照片等物品中挑选出素材来组成一部令人回味的新电影。影片没有旁白，而是由导演自述故事。30年后，这些失落的，从未公开过的影像被重新审视和诠释。电影《重访蓝丝绒》将与观众分享那些被埋藏的财富。

由彼得•布拉茨执导的纪录片，基于大卫•林奇1985年在美国拍摄的电影《蓝丝绒》。彼得•布拉茨独家记录了《蓝丝绒》的整个制作过程，其中大部分素材从未公开过。在《重访蓝丝绒》中，导演从收集的电影影像、大量录音、照片等物品中挑选出素材来组成一部令人回味的新电影。影片没有旁白，而是由导演自述故事。30年后，这些失落的，从未公开过的影像被重新审视和诠释。电影《重访蓝丝绒》将与观众分享那些被埋藏的财富。

40岁的布拉德利·马修是《孤独星球》杂志的资深写手，他沿丝绸之路重行了世界最著名旅行家马可·波罗的路线。布拉德利穿越东方古城、荒芜的山脉、可怖的沙漠，他流连于市集和酒吧，惊叹于宏伟的宫殿，驻足于破败的车站，一路上的人们纷纷向他敞开心扉。许多见闻都与马可波罗所记述的相吻合，诸如天然油田、恐怖主义、全球化。 当今的丝绸之路之行甚至比马可·波罗时代的更为荡气回肠。