不一定每一个人，都到达过长城。但每一个中国人心中，都有一座自己的长城。由河北广播电视台卫视频道原创打造的五集文化纪录片《长城 长城》，是一部宏大叙事中寻找小切口的长城主题纪录片。摄制组行程十万余里，只为与长城相遇，用独特视角解读长城古老的智慧与传承。

在工作环境的不安全感驱使下，科摩多罗·里瓦达维亚赌场的员工朱莉娅屈服于格温福的诱惑，格温福是一个简洁的威尔士裔男子，他向她承诺在他工作的石油公司担任行政职务。当她意识到自己的错误时，他们已经很好地进入了沙漠，开始了穿越巴塔哥尼亚平原的艰苦徒步旅行。掩埋在洞穴和废弃的建筑，没有出路在无限的距离，困难的共存将改变随着时间的推移。在一辆皮卡车上，在追踪者的引导下，警长赫密斯·普里托骑着马，紧跟其后，确信能在沙漠中找到某种踪迹。

40岁的警官丹尼尔因爆出暴力殴打新人被停职调查，此后他的网恋对象萨拉不再回复他的消息，他决定开车横跨巴西南北到北方寻找她。他把莎拉的照片打印成启事在萨拉的住处到处张贴，这显然是愚蠢的举动，但意外的是当地竟然没有人认识这个女人。直到最后，一个陌生人突然打来电话，说他知道萨拉的下落。

40岁的警官丹尼尔因爆出暴力殴打新人被停职调查，此后他的网恋对象萨拉不再回复他的消息，他决定开车横跨巴西南北到北方寻找她。他把莎拉的照片打印成启事在萨拉的住处到处张贴，这显然是愚蠢的举动，但意外的是当地竟然没有人认识这个女人。直到最后，一个陌生人突然打来电话，说他知道萨拉的下落。

《引力邊緣》（2013）幕後父子兵再度聯手，上回是父親艾方素卡朗執導，今次就由兒子莊拿斯上陣，父親任監製。也是求生的故事，教人驚心動魄的不止於外太空，地球更危險。《向政府說不》（37屆）的基爾加西亞般奴飾演墨西哥非法移民摩西，夢想家庭團聚，偷渡穿越美國邊界。豈料遇上邊境巡邏的嗜殺排外之徒，濫用私刑，持槍獵殺，令追尋自由的冒險之旅，頓變極度恐慌的生死逃亡。邊境荒漠成為殺戮戰場，家人所贈的玩具熊到底是護身符還是催命咒？影片有如一則現代出埃及記，為當下美國右派民粹主義勢力崛起敲響警鐘。

一个男人发现自己被困在一个沙漠峡谷中，与一位在野外生活的女性一同被一群虐待狂男孩囚禁。

The sun beats down mercilessly on all those who cross the Sonoran Desert between Mexico and the United States. Aside from the few people who live here, it’s the poorest of undocumented immigrants that make the crossing, who have no choice but to take this extremely dangerous route, followed by border guards both official and self-appointed. The horizon seems endlessly far away and deadly dangers lurk everywhere. It’s best to move under the cover of darkness; during the day, being exposed to the heat and sun is enough to make animals and humans perish. Their traces and remains accumulate, fade, decompose and become inscribed into the topography of the landscape, making the absent ever-present as life and death, beauty and dread, hostile light and nights aglitter with stars and promise all continue to exist alongside one another. 　　El mar la mar masterfully weaves together sublime 16-mm shots of nature and weather phenomena, animals, people and the tracks they leave behind with a polyphonic soundtrack, creating a cinematographic exploration of the desert habitat, a multi-faceted panorama of a highly politicised stretch of land, a film poem that conjures up the ocean.

The sun beats down mercilessly on all those who cross the Sonoran Desert between Mexico and the United States. Aside from the few people who live here, it’s the poorest of undocumented immigrants that make the crossing, who have no choice but to take this extremely dangerous route, followed by border guards both official and self-appointed. The horizon seems endlessly far away and deadly dangers lurk everywhere. It’s best to move under the cover of darkness; during the day, being exposed to the heat and sun is enough to make animals and humans perish. Their traces and remains accumulate, fade, decompose and become inscribed into the topography of the landscape, making the absent ever-present as life and death, beauty and dread, hostile light and nights aglitter with stars and promise all continue to exist alongside one another. 　　El mar la mar masterfully weaves together sublime 16-mm shots of nature and weather phenomena, animals, people and the tracks they leave behind with a polyphonic soundtrack, creating a cinematographic exploration of the desert habitat, a multi-faceted panorama of a highly politicised stretch of land, a film poem that conjures up the ocean.

A small-town sheriff gets tangled in a web of lies and corruption involving a shady businessman and the cartel while investigating the homicide of a mysterious woman linked to an apparent suicide.

Two dysfunctional couples rent a modern luxury desert home for the weekend hoping to sort out their messed-up lives. Just as they are about to settle in for a fun night, a neighbour turns up at their front door saying she has car trouble. And that's when the murderous trouble really starts. Because without knowing it, the four friends have landed slap-bang in the wrong violent place at precisely the wrong bloody time. Hopefully your nerves of steel will hold for one of the most stylish, atmospheric and terror-filled home invasion horrors of them all.