本季节目延续第一季的风格和基调，将目光投向全国的秋冬美食大宗，深入顶级食材的原产地，涉足至大海、湖泊、高山、草场，呈现壮阔的自然与一方的水土与物产。通过美食与美酒的搭配，展示不同地域的秋冬时令食材，以及仰赖各方水土的人们多样化的生活。
奇兽、奇人、奇事。取材于上古奇书《山海经》里的神话传说故事，纪录片《山海经奇》自带中国人骨髓里奇幻浪漫的气质：女娲造人、烛龙睁眼为昼、羲和浴日、羿射九日、嫦娥奔月、夔皮作鼓等远古恢弘的传奇故事，都隐藏着先人刻骨铭心的告诫；那些家喻户晓的英雄人物，都蕴含着中华祖先前仆后继的血脉凝聚。《山海经奇》是由中央广播电视总台（ChinaMediaGroup）影视剧纪录片中心出品的纪录片。2023年2月17日，该片亮相纪录·时代答卷——2023年“大片看总台”发布活动。
车王卫锋（释彦能饰）经历姐姐被诈骗集团逼死的痛苦，决意以自己的方式复仇。在冬子（彭天颖饰）等一帮兄弟的帮助下，阿锋为公子哥伟少（王子宸饰）成功改装赛车，并获得信任。只身深入狼窝的阿锋，险些让最在乎他的顾小雪（陈燃饰）受到伤害。他也逐渐发现伟少犯罪团伙肮脏的秘密...
大漠飞沙，引擎轰鸣，野性十足的美女车模（安娜塔莉娅 饰）只身深入大漠，只为和心爱的人共赴爱情之约。各国车手们本想在这里一战成名，却不知这死亡沙海既是天堂，亦是地狱。在凶险的生死竞速中，车手肯特惨遭对手布莱恩（米歇尔·法布里斯 饰）设计陷害，不但亲人身处险境，命悬一线，而且连爱情也面临着崩塌。他决定用轰鸣的引擎声为自己赢得尊严，但布莱恩并不打算放过他，等待他们的是一场输赢未定、生死未卜的飞车大战。
当一架客机困在一堆喷发的火山中时，乘客和机组人员必须设法求生——在不降落的情况下。但在岩浆和火山灰的持续打击下，机上的人产生了恐惧和不信任，威胁生命的不只是火山，人人必须学会合作，才能在火海飞行中活下去……
每个人都有自己的念想与欲望，当一个人对某一事物的念想到达极致时，就会产生一种精神力在他身上附着，精神力的善恶导致了神明与恶魔的存在；愤怒、色欲、嫉妒、傲慢、暴食、懒惰、贪、嗔、痴……这些邪恶的精神力不断蚕食人心，从而壮大恶魔的力量；而代表真善美的精神力，为神明提供精神支柱，引导人心向善，帮其渡过难关；随着世俗人心的变化，善良之心越来越少，神明的精神力量也越来越弱，神明需要借助主人公的帮助，重获善良之心。分别代表着真、善、美三种品质属性的韩宇、朱阳、安欣三人在现实生活中受到了一定的挫折，于是被规定需要再三日内搜集到规定数量的灵力值，可以获得神奇力量，完成了之后也可以获得任意回到人生某一个时间节点的机会作为回报，也以此证明，人性本善，人终归需要向善。
《怒呛人生》讲述了一起发生在两个陌生人之间的路怒事件。丹尼·周（史蒂文·元饰）是一个失败的承包商，心中愤愤不平，与艾米·刘（黄艾丽饰）正面交锋；艾米·刘（黄艾丽饰）是一位白手起家的企业家，有着独特的生活。在这部感人至深的黑色喜剧中，他们之间的恩怨日益加深，生活和关系也随之瓦解。
讲述一个美国郊区女子去意大利参加关系疏远的祖母的葬礼，却因此意外继承并掌管了祖母的黑帮帝国，并受帮派中深受信赖的顾问的指导。
Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
洛杉矶的年轻人都热衷于街头赛车，在这里，只要你拥有速度，你就拥有一切。新晋警官布赖恩（保罗•沃克 Paul Walker 饰）为了破获最近屡屡发生的飞车党劫车案而充当卧底，打入这里活跃的飞车党帮派中，搜集证据以期将罪犯乘之于法。布赖恩凭借高超的车技很快赢得了飞车党老大多米尼克（范•迪塞尔 Vin Diesel 饰）的欣赏和信任，并且很快和多米尼克的妹妹米亚（乔丹娜•布鲁斯特 Jordana Brewster 饰）堕入爱河。然而飞车党的第二把手文斯却是对布赖恩充满敌意，原来文斯一直暗恋米亚，而且布赖恩的到来威胁着他二把手的地位。