敦煌:生而传奇

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马克·安德烈·莱克莱尔独自攀登，远离聚光灯。这位23岁的自由主义者进行了历史上最大胆的单人攀登。没有摄像机，也没有失误的余地，莱克莱尔提供了一种单人冒险方式的精髓。

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剧情简介暂缺，敬请期待

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大型文化纪实纪录片。该片从长江源头出发，以江河为经，以文物为纬，深入探寻羌藏、滇黔、巴蜀、荆楚、湖湘、赣皖、吴越七大文化区域的内在特质，选取典型性文物展开叙事，以赋江、源启、理水、合脉、涌新、润稻、流韵、引航八集篇幅，带领观众领略“母亲河”长江的浩荡壮阔与文化绵延。

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腾讯视频美食纪录片《皖美风味》定档，于7月31日每周一三中午12：00上线播出。该片以不同视角讲述安徽美食的博大精深，共分为12个篇章，充分展现了安徽本土滋味、饮食习惯、地域文化和与食物相关的情感故事。

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　　顾名思义《上食堂》就是传授大家关于美食种种学问的课堂。不管是美食的各种做法、吃法还是独门卖法，节目将一一告诉大家！
　　每一集节目集中介绍一道亚洲著名的美食或食材，如香港的点心和鹅食，日本的和牛和咖喱，韩国的泡菜和药膳和台湾的蚵仔和肉圆。节目让观众大快朵颐之际，也深入了解这些美食背后各个幕后英雄是如何让眼前的美食发扬光大。除了介绍各个厨师、馆子是如何使出十八般武艺烹煮美食外，节目也会将镜头转向养殖场、捕捞过程及相关行业，让观众更全面和深入的了解，这些美食的过去、现在甚至将来！

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　　Top Gear will return on Jan. 25th, 2015.

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　　The dream of sending humans to Mars is closer than ever before. In fact, many scientists think that the first person to set foot on the Red Planet is alive today. But where should the first explorers visit when they get there?
　　Horizon has gathered the world's leading experts on Mars and asked them: where would they go, if they got the chance - and what would they need to survive?
　　Using incredible real images and data, Horizon brings these Martian landmarks to life, from vast plains to towering volcanoes and from deep valleys to hidden underground caverns. The programme will also show viewers where to land, where to live… and even where to hunt for traces of extra-terrestrial life.
　　This is the ultimate traveller's guide to Mars.

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《Log in Belgium》是因为疫情被困在比利时安特卫普陌生酒店里的演员刘台午，通过电影这感性相通的假想世界寻找真正刘台午的私密记录。刘台午全程参与了企划、制作、剧本、导演、拍摄、剪辑以及音乐工作，本片采用100%智能手机拍摄。

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　　《生命海洋》是IMAX1995年二月上映的反映大海的一部纪录片，它在呈现给我们海底美丽与神奇的画面以外更加侧重表现了人类与大海生生相息的关系，全片仅40分钟，但包括了很多内容：有介绍海底风光的绚丽画面、也有与大海拚搏人们的激情展现、还有研究大海科学家们的沉思，当然也少不了夏日里面海边俊男美女。在《海中颜面博览会》中，我们欣赏到了海底的奇幻世界，而在这部的反映大海的影片中，我们主要看到的是人类是如何与大海息息相关，人类是如何在大海的怀抱中生存，我们会看到岸边那白色的帆船随着日出划向大海的深处，伴着日落静静的停靠在岸边，我们还会看到原来依靠大海生存的土著部落现在是如何依靠科技设备带着下一代去领略大海的无穷奥秘，我们更会看到缤纷夏日中，不同肤色不通种族的人们尽情享受大海带来的快乐。也正因为如此，本片在观众中得到的评价是截然相反的，支持的人们认为这才是真正的大海，这才真正表现了人与大海的关系，而反对的人们则要求更多的精美的海底画面。而导演Greg MacGillivray的拍摄本片的意图恰恰是着重表现人与大海的关系，正如片中的解说“大海就是生命之源”，本片主旨不在美丽的画面而在思考生命与生命之源的关系。

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　　The Power of Emotion explains that emotion isn't to be confused with sentimentality. Emotion is ancient and more powerful than any art form. The film looks at young couples who run into difficulties as they try to translate their experiences of love into clear decision-making. A woman who has shot her husband provides a judge with a puzzle. Those who love can bring the dead back to life by means of co-operation. That's the focus of the opera, "The Power Plant of Emotions" and the "Opera of the 20th Century" cinema.
　　Alexander Kluge: The Power of Feeling
　　When I started working on The Power of Feeling, I was not in a rational state. I did not say, I have a subject and now I will make a film about it. Instead I was spellbound and observed in my direct surroundings, for example, how feelings move. I have not really dealt with the theme of my mother's death and the fact that she was the one who taught me "how feelings move." Nor have I dealt with how she died. That was an entire palette of feelings: "All feelings believe in a happy end," and everyone believes tacitly that they will live forever: The entire palette is somehow optimistic, a positive attitude towards life having been put on the agendaas long as she was young, as long as her body held out, from one day to the next she collapsed. She just suddenly collapsed, like in an opera where disaster takes the stage in the fifth act. It felt as if I had observed an air raid or a disaster.
　　The film The Power of Feeling is not about feelings, but rather their organization: how they can be organized by chance, through outside factors, murder, destiny; how they are organized, how they encounter the fortune they are seeking.What is all this organization of feelings about? Generally feelings tend to be a dictatorship. It is a dictatorship of the moment. The strong feeling I am having right now suppresses the others. For thoughts this would not be the case. One thought attracts others like a magnet. People therefore need affirmation by other people to be sure about their own feelings (to counteract the acquisition of their feelings through outside forces). Through the interaction of many people, for example, in public, the various feelings also have a magnetic attraction to one another just like thoughts do. Feelings communicate through their manifestation in public.
　　The cinema is the public seat of feelings in the 20th century. The organization is set up thusly: Even sad feelings have a happy outcome in the cinema. It is about finding comfort: In the 19th century the opera house was the home to feelings. An overwhelming majority of operas had a tragic end. You observed a victim.
　　I am convinced that there is a more adventuresome combination: Feelings in both the opera and traditional cinema are powerless in the face of destiny's might. In the 20th century feelings barricaded themselves behind this comfort, in the 19th century they entrenched themselves in the validity of the lethal seriousness.