执法犯法

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　　讲述迄今为止最具戏剧性的赛季里，车迷们将再次被带到幕后，亲眼见证车手和车队如何在一年内为夺冠而战。

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　　這部扣人心弦的紀錄片，記敘2012 年發生在俄亥俄州斯托本維爾的強暴案。

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　　中風、心臟病、癌症等均是嚴重病症，可引致癱瘓甚至死亡。不過，也有患者身負惡疾，仍然安然度過生活下去。究竟是奇蹟？還是體內潛藏可擊退頑症的神秘「X-FACTOR」？ 常言道「快樂能醫百病」，主持陳貝兒每集帶來非一般的對抗病魔個案，並從醫學、心理狀況、情緒管理等多個角度，從患者身上尋找與別不同的「特殊因子」，探討打開健康大門的另類鑰匙。

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美国每年都有数千名退伍军人自杀。这是一场史诗级的国家悲剧。然而，一种非凡的治疗方法却被证明比想象中更有效：将野马直接从牧场带走。将它们与退伍军人配对，奇迹般地将绝望转化为持久的希望。

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　　Netflix美食纪录片.影片分别记录了来自意大利,美国,阿根廷,澳大利亚,瑞典的六大名厨的厨房生活.本片恢宏大气.是关于食物,信念,坚持与创造的故事,动人心魄。

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这部令人瞠目结舌的纪录片深入美国最具争议的脱口秀节目的幕后，揭露其镜头内外的最大丑闻。

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　　《急诊室故事》利用全球最先进的固定摄像技术，使用78个固定摄像头，24小时跟踪直击常人视角无法触及的急诊室真实故事，记录生死关头的人生百态，同时为确保真实还原，现场将使用66路全方位收音，确保急症室各处都可以收到现场声。节目核心立意是直面社会广泛关注的医患矛盾、信任危机，并始终坚持“生命有痛，有你真好”的主导思想，通过深入挖掘一个个真实而充满人道主义精神的救治故事，让观众感受到病患如何被救治，及过程中医患间、病人与亲友间的各种情感迸发，赞颂生命的力量与尊严，传递社会正能量。节目将全方位纪录、还原真实医患关系，直击中国医疗现状，带领观众感悟人生百态。

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20世纪90年代中期，史蒂夫（基里安·墨菲 饰）是英格兰一所专门收治有社会适应障碍和行为问题的学校的校长。他努力让学生们服从管束，并和自己不断加剧的心理健康问题作斗争。与此同时，问题学生Shy（杰伊·利库戈 饰）也在脆弱与暴力冲动之间艰难寻路，努力与自己的内心达成和解。

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　　Telling harsh truths about the modern music business, Artifact gives intimate access to singer/actor Jared Leto and his band Thirty Seconds to Mars as they battle their label in a brutal lawsuit and record their album This Is War. The film is a true artifact of our times, as its subjects struggle with big questions over art, money and integrity.

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　　Mehran Tamadon explores what it was like being interrogated by the Iranian regime by asking prisoners to reconstruct their experiences.
　　Alongside his companion film Where God Is Not, My Worst Enemy finds Tamadon shifting focus from the interrogated to the interrogator. The filmmaker sought an individual who had been interrogated by Iranian authorities in order to draw on their experiences to play an interrogator. The role finally fell to the Cannes-winning lead actor of Holy Spider, Zar Amir Ebrahimi. Together in an anonymous room, with Tamadon stripped to his underwear, they reconstruct the interrogation process, which gradually becomes an examination of the nature of power and coercion. The resulting film is intense and, at times, uncomfortable. And as it progresses, My Worst Enemy becomes an exploration of cinema’s relationship with its audience, questioning whether there is a limit to what it can show.