暂无剧情

这部的纪录片将通过美国滑板运动员、非二元跨儿利奥·贝克的经历，探讨滑板这项运动的性别问题。

在这部真诚而搞笑的纪录片中，明星表演者们讲述了自己的故事，以此探索LGBTQ 单口喜剧的历史。

Why has a kids TV show about an eccentric man with a box that can travel anywhere in time and space become the BBC's longest running TV drama - and one of Britain's biggest brands? 　　On its 50th anniversary, lifelong fan Matthew Sweet argues you ignore Doctor Who at your peril. It may be a piece of children's television, but he believes it's one of the most important cultural artefacts of modern Britain. Put simply, Doctor Who matters. 　　In this hour-long Culture Show special, BBC Two's flagship arts programme explores with wit, authority and affection, why Doctor Who has become entrenched in British life. Matthew Sweet traces the 50 years of extraordinary social change and uncertainty that sent generations of children scuttling behind the sofa. How did a pepper pot, the Nazis and a sink plunger result in the scariest adversaries of our time - the Daleks? 　　Sweet argues how in turn the show became a cultural force in its own right, influencing music, design and storytelling - whether pioneering electronica (Delia Derbyshire), or giving the unknown Douglas Adams a crucial break. Matthew meets both famous faces as well as cast, crew and Doctors past and present (from current Doctor Matt Smith to Richard Martin, the maverick director who first brought the Daleks to screens in 1964) to find out how Doctor Who has changed our culture.

本纪录片取材于野生动物保护主义者蒂莫西·崔德威尔（Timothy Treadwell）1999～2003年在美国阿拉斯加州卡特迈国家公园及自然保护区所拍摄的素材。崔德威尔从1989年起致力于野生灰熊的研究和保护，并与朋友成立了“熊人协会”，每年夏天来到卡特迈独自野营，观察记录灰熊的生活习性，并义务对数千名学童进行讲解，呼吁社会打击偷猎，关注、保护灰熊。导演沃纳·赫尔佐格（Werner Herzog）探访了崔德威尔的父母和前女友，并对2003年10月崔德威尔及女友艾米·胡格纳德（Amie Huguenard） 之死的细节进行了细致采访描绘，试图在展示崔德威尔非凡经历的同时，回答究竟是什么使他选择远离人类放逐荒野，将生命献给灰熊。 　　本片获圣丹斯电影节纪录片评审团大奖提名及艾尔弗·斯隆奖，并获2005年独立精神奖、洛杉矶影评人协会、纽约影评人协会、美国国家影评人协会等多个协会的最佳纪录片奖。

每天清晨，佘偉豪和黃俊修都會走到大角咀的鮮魚行學校上課。 　　兩人的基層家庭生活寫照，以及這種「互相照顧」的經歷，在這裡比比皆是。內地出生的董汝峰、譚志澤，甚至班上最受男生歡迎的黃嘉琪都有著同樣故事：家人為孩子們前途著想，毅然來到香港，屈膝於狹窄的房間裡生活；但對孩子們而言，一下子面對成長環境的改變，重新追溯另一個地方的認同和價值，是一種值得的「投資」嗎？一次上電視的經歷，卻改變了佘偉豪的故事。 　　到底「家庭」對這群小孩子來說，是怎麼一回事？究竟社會的「成就」指標，與家長望子成龍的渴望，在他們而言，又是什麼？假如探聽孩子們對家長，對成年人，甚至對社會存有什麼「期望」，答案在成年人眼中是否不值一提？ 　　即使生活在不安定的環境中，孩子依然會努力嘗試展現其生命力，這是成年人不欲或無暇去理解的，亦是「子非魚，焉知魚之樂」的本義。 　　J and Jacky have been best friends and inseparable since they met in the first grade. Born in Hong Kong, J was raised single-handedly by his mother, who was a mainland Chinese. Together they shared a subdivided unit of no more than three meter wide. Every time when J's mother had to go back to the mainland for "permit renewal", she left him with Jacky's family. However, J's life changed after he went on television one day... 　　获奖情况： 　　2014年 獲得第四屆法國"中國銀幕"紀錄片電影節謝閣蘭獎 　　2013年 獲得第八屆FIRST青年電影節最佳紀錄片

柏林常以一种富有亚文化的形象示人，西柏林的酷儿文化则是其中的重要一面。这里不仅有活跃的派对文化、性别的多样性，更产生了种独具特色的俱乐部。此外，同性恋博物馆、艾滋病援助组织和柏林电影节泰迪熊奖等各类与之相关的组织和活动纷纷在此建立阵地。事实上，酷儿文化在柏林的诞生与发展 并不顺利：1969年之前，同性恋会被政府抓捕和定罪。但西柏林的同志群体依然顽强存活，把这座城市发展成属于同志群体的大都市。七十年代末，西柏林迎来性自由、政治自由和社会融合的高潮时代；但辉煌之下，侵袭全球的艾滋病也让酷儿文化蒙上一层阴影。 　　该片将镜头对准西柏林的同志群体，记录他们从二战后到柏林墙倒塌前的生活。包括政治活动家、俱乐部经营者、音乐家、时装设计师等各类群体描绘了种种历史事件的生动场面。影片同时也公开了罕见档案材料，带领观众穿越时空，领略西柏林的历史与文化魅力。（小易甫字幕组）

第91届奥斯卡金像奖(2019)最佳纪录短片。这是一部关于月经和卫生巾的纪录片。讲述的是印度德里的一群妇女，为自己以及所有女性获得卫生巾的权利而抗争，而加利福尼亚州的一群高中女生们，给予了她们支持。

英国人爱树至深，如今，他们正票选出四大区最受欢迎的年度之树。入围的有：极具亲和力的叮咚树；独树一帜的布里蒙橡树；宛如比萨斜塔般的霍尔姆橡树；还有摄影师的宠儿——峡口梧桐。最终获胜的是布里蒙橡树，除了它们出类拔萃的外表，其中蕴含的深邃古韵更是令人为之倾倒。任何人都应该明白，我们的生活因为树木而更美好，它们不仅仅是保护环境的超级英雄，还深深地植根于我们的文化中，它们还是许多野生动物的家园，我们必须照顾他们，保护他们，不把他们视为理所当然的存在。让我们跟随奥汉隆带领我们一睹英国古树之芳华。

Teenagers at a secondary school in the Canadian provinces. A time between childhood and adulthood where boundaries are tested and overstepped. One day they’re still drawing tattoos on their arms with felt tips and making papier-mâché fish in class, the next smoking between lessons, easily capable of pointing out the local pot dealer. This particular aspect of their daily reality – breaking rules, discipline problems at school and conflicts with other students – shine through in the long conversations conducted between the adolescents and their social workers. The school is less interesting in this context as an educational institution than as society’s last chance of having an impact on its young. Just as they are collectively vaccinated here against diseases, this is also where they have moral guidelines for how to live together in society laid out for them. 　　The film’s own approach has nothing to do with social education however. Its calmly observed conversations and carefully composed images of the teenagers in their free time articulate a sense of interest and empathy for this odd period in life, content to patiently watch the sweet bird of youth in its attempts to take flight. (Berlinale 2014)