记录片

买进名校：美国大学舞弊风暴

Reenactments drive this documentary investigating the mastermind behind a scam to sneak the kids of rich and famous families into top US universities.

二十年后

Eduardo Coutinho was filming a movie with the same name in the Northeast of Brazil, in 1964, when there came the military coup. He had to interrupt the project, and came back to it in 1981, looking for the same places and people, showing what had ocurred since then, and trying to gather a family whose patriarch, a political leader fighting for rights of country people, had been...

中国传媒大学毕业设计作品展映（2020）

陈毅市长

1949年5月，刚解放的大上海硝烟未尽，千疮百孔。5月28日，陈毅（魏启明 饰）以共产党市长的身份接手了这个国民党统治数年的烂摊子。万事开头难，作为当时中国最大的工业城市，将如何下手管理，陈毅夜不能寐。他借赴宴之机向资本家阐述我党政策，促进民族资本业经营信心，迅速恢复工业生产，稳定物价，打击奸商。针对内部违纪现象他也毫不留情加以严肃处理，连自已的老丈人也打发回家乡，以此减轻国家负担。他借过春节机会，到工人徐根荣（赵家彦 饰）家拜年，用工人吃豆渣一事教育感化傅一乐（章非 饰），调整了劳资关系。他还用生动事例进行阶级立场和阶级感情教育，使广大群众得知新中国、新生活的来之不易......

阿拉亚

《阿拉亚》是委内瑞拉传奇女导演玛戈·贝纳塞拉芙唯一一部纪录长片，它在拉美影史上占有相当重要的位置，是委内瑞拉民主后第一部获得国际声誉的电影，当年在嘎纳它与阿伦·雷奈的《广岛之恋》共同分享了国际评论家奖，也都获金棕榈提名却最终未果，尽管名气不如《广岛之恋》和《黑人奥菲尔》那么大，但在专业人士眼中此片一直都是研究拉美女性电影所必修的经典，影片出色的摄影时常被人们所赞美，是与卡拉托佐夫的《我是古巴》齐名的诗意电影杰作，法国著名导演让·雷诺阿在看过影片后称赞《阿拉亚》是他所见过最完美的纪录片之一。贝纳塞拉芙就像是委内瑞拉影坛的特吕弗和亨利·朗格鲁瓦，她不仅是第一位毕业于巴黎电影学院（IDHEC）的拉美导演，而且在1966年创办了委内瑞拉电影资料馆，虽然由于资金短缺问题，她个人的导演生涯并不顺利，作品也很少，但却为新委内瑞拉电影的发展成立基金会，并曾获得世界各国的无数荣誉和勋章。 转自AUESS的博客资料（http://blog.sina.com.cn/s/blog_497f6a250100cxm0.html） Shown at Cannes in 1959, the year after Venezuela's last dictator Marcos Perez-Jimenez was overthrown, the documentary inadvertently highlights the kind of exploitation of the poor that can lead to rebellion. While the dictator escaped to Miami with $13 million, salt workers were piling up mounds of salt on the flat sands, making barely enough money to keep them in arepas and black beans. Between the hot, tropical climate and the sores on their feet, the job these workers do every day is excruciating. Yet the lives of the fishermen and salt workers in this documentary are shown in the context of planned, upscale development, something of a disservice to the larger picture. With not much making a great impression thus far at the Berlinale, Margot Benacerraf's lovely documentary Araya comes as a breath of fresh air from 1959. Reminiscent of Agnes Varda's debut film La Pointe-courte (1954) in its artful but somewhat ambivilant attitude towards filming a local community and their work clearly admired by the filmmakers, Benacerraf's film focuses on the inhabitants of Araya, a desolate area in Venezuela subsiding through a long history on the wealth of its great salt marshes. Araya was originally compared to Flaherty's Man of Aran, Visconti's La Terra Trema (1947) and Rossellini's India (1957). Margot Benacerraf has described the film as "a cinematic narration based on script writing rather than a spontaneous action, a feature documentary, the opposite of Italian neorealism".

阿富汗字母

Post September 11, Mohsen Makhmalbaf tracks the children who do not attend school in the border vill...

阿克曼自画像

When asked to participate in the Cinema, of Our Time series, Chantal Akerman jokingly suggested herself as subject matter. She envisioned a film consisting solely of excerpts from her films, but when pressed by the producers to include footage of herself, Akerman grudgingly agreed, and divided the film into two parts. The first part opens with Akerman in her apartment, reading from a text directly to the camera, describing the problems she encountered making this film. What emerges from this mise-en-scene is a funny, often personal, and always thoughtful confession from this extremely perceptive filmmaker. Part two lets Akerman's films speak for her, taking clips from her extensive filmography and linking them anonymously until they form a new film. There are scenes from JEANNE DIELMAN, her best-known film, but also glimpses of several other works - forays into experimental film, comedic shorts, musicals, narrative features - including an early short that stars a very young Chantal.

阿内尔卡：全是误解

难以捉摸、无可匹敌，还是两者兼具？这部纪录片深入探讨了知名法国足球运动员尼古拉·阿内尔卡颇具争议的影响。

难以忽视的真相

他是几乎成为美国总统的人——阿尔·戈尔。很难说他成为总统会给世界带来怎样的改变，但是现在，他就在改变世界的路上。 本片记录了戈尔作为一个环保专家，一个世界公民，为了环保世界进行的种种努力。他精彩的演说，议会上咄咄逼人的质询，对于环保议程的推进努力，还有在这一切的背后，他的内心世界。

难以忽视的真相2

派拉蒙公司周五宣布曾获得第79届奥斯卡奖最佳纪录长片的《难以忽视的真相》续集《难以忽视的真相II》将于明年1月在圣丹斯电影节首映。 《难以忽视的真相》导演戴维斯·古根海姆巧妙地把全球变暖的种种自然现象与戈尔先生的个人历史，以及他长期以来致力于警示和改善全球变暖现象的行动交织在一起，构成了一部具有强烈震撼力的纪录片。作为一名资深的环保主义者，戈尔先生在本片中用一个具有思考深度和令人注目的方式，向大家展示了大量有关全球变暖给人类带来巨大危害的无可争议的事实和信息。而在续集中，阿尔·戈尔将探讨全球变暖正在逐步扩大的问题，并提出目前拥有的解决方案。 续集将于2017年1月在圣丹斯电影节上首映。圣丹斯电影节方面表示，影片将对保护环境变化起到重要作用。

阴阳相成

经过上百年的发展，胶片技术从蛮荒走到成熟，电影人采用化学摄影法创造了一个又一个经典和视觉奇迹。而当时间逐渐走向21世纪时，化学摄影法趋近临界点，几无上升空间，且越来越无法应对电影工业对新技术和全新拍摄手法、理念的诉求。与此同时，数字摄影方兴未艾，正以前所未有的势头进入传统技术固若金汤的电影领域。从Dogma 95对手提DV的使用，到乔治•卢卡斯大胆的HD摄影之应用，伴随着“顽固派”和“革新派”的政治和讨论，数字摄影蚕食着传统胶片的领土，逐渐成为当今电影工业的主流。在这一过程中，配光、摄影、剪辑等工作也相继受到冲击和影响。 这是一场全新的革命，是对充满各种可能性的未来满怀信心的展望……

雪藏希望：待日重生

2014年，一名2岁的泰国女孩Einz被诊断为脑癌，经过十余次的手术治疗却仍无法挽救这年轻的小生命，Einz的父母均为医疗工程博士，他们决定在女儿离世后对其身体组织进行冷冻，她的遗体被保存在美国亚利桑那州的一个实验室中，他们希望未来的科技可将她复活。本片跟随拍摄了Einz 的家庭——她的父亲、母亲及哥哥是如何作出这个不寻常的决定的，这一举动也遭到了泰国甚至世界范围的讨论，但是Einz父亲还是希望给女儿留下这个生存的机会，而Einz哥哥也因妹妹的离别受到触动，投身于科学学习，希望在未来这项新兴的冷冻技术会有更深入的研究成果。