亚伊米塔通过与斯文建立关系，实现了她母亲的梦想。斯文是一位年长得多的挪威人，他承诺会把她从古巴艰苦的生活中拯救出来。然而，当亚伊米塔意识到斯文并不像他表面上看起来那么理想时，幻想开始破灭了。

The Nuer call themselves Naath. Only their immediate neighbors, the Dinka, Shilluk and Arabs, call them Nuer. Most foreigners, which includes those with whom the Nuer neither fought nor traded, are called Bar which means 'almost entirely cattleless'. Those foreigners who live even more remotely and include Europeans are called Jur which means 'entirely cattleless', a most unthinkable state indeed. 　　The people of Ciengach, where the film was made, are the Eastern Jikany, one of about a sixteen distinct tribes of Nuer. Twenty-five years ago E.E. Evans Pritchard estimated the total population of Nuer to be around a quarter of a million. Since then the number has undoubtedly dwindled considerably due to warfare, civil strife, sickness, drought and the general abandonment of traditional lifeways. 　　However, those who still called themselves Naath did so with an extraordinarily vivid image of themselves as superior people living a superior life. Furthermore, it was impossible not to see that their lives were inextricably tied to their herds. Ciengach is a perfected plan for co-posperity of cows and humans. 　　It cannot be said that filming the Nuer was an easy task, but visually it was always absorbing. They were seldom resentful as was the rule with the Islamicized Afar in the Danakil Desert to the Northeast. On the contrary, the Nuer had a real, even exaggerated, sense of their importance. They considered themselves handsome and displayed their elegance with pride. 　　Nuer existence has, consistent with life led on a flood plain, an almost tidal rhythm due largely to the movement of cattle into and out of the villages. At almost precisely 10:30 in the morning cows and bulls began to groan, stand up and in other ways indicate that the time had come for them to be released and on their way to graze. Within moments the entire herd was sounding a unified complaint. Men and boys then slipped the tethers from their necks and the flow of cattle began. Five more minutes and the village was virtually silent. The herd had receded toward the river and to whatever grass the younger men could find. So the days passed into twilights of returning herds and men and the nights were filled with stars and an almost intoxicating 'bucolia.'

2006年台湾国际动画影展开幕片，荣获美国圣地牙哥亚洲影展的儿童短片奖、巴西影展儿童短片奖等殊荣，热销全球超过40国，最令台湾小朋友骄傲的成长伙伴，令成年观眾也感动落泪的「疗伤系动画」，DVD独家收录蛋糕姊姊生动情节解说，以及导演製作分享！ 　　美国有迪士尼创造的米老鼠和唐老鸭，日本有【龙猫】和【魔女宅急便】里经典动画人物，而现在台湾喜爱动画的观眾，终於也有属於自己的动画明星囉！拥有一双水汪汪大眼睛和圆圆胖肚子的「姆姆」，惹人怜爱的模样一出现就轻鬆掳获小朋友的心，而稍微笨拙的可爱动作，更是令成年观眾对这个蓝色小生物的魅力，也毫无招架之力。 　　加上国际级的3D动画製作水準，以及极具教育意义的动人故事，让【姆姆抱抱】成功超越语言的隔阂，销售到全球四十多个国家，成为令台湾小朋友们最骄傲的宝贝玩伴！继【和天线宝宝学英文】系列后，华纳家庭娱乐再度为观眾带来优质儿童节目【姆姆抱抱我是姆姆】、【姆姆抱抱认识你真好】DVD，配合七月在东森幼幼台首播，让小朋友紧紧拥抱姆姆，度过一个欢乐又幸福的夏天！ 　　一手打造【姆姆抱抱】的首映创意股份有限公司（SOFA Studio），2004年成立后秉持著「原创精神」致力於本土3D动画的製作，聚集广告和游戏领域的资深创意人才，并不断向皮克斯（【海底总动员】、【超人特攻队】）等顶尖欧美动画团队取经研发技术，终於在2006年为观眾带来活泼纯真的可爱姆姆，精緻的3D动画搭配柔和的色彩和逗趣的情节，还有精心挑选的温馨音乐，不时让人开怀大笑之餘，更教导著小朋友接纳差异和乐於助人的正面态度，而姆姆渴望友情的中心概念，更是让许多成年观眾感动落泪，将【姆姆抱抱】喻为蕴含温暖人心力量的「疗伤系动画」！ 　　接连受邀参加台湾国际动画影展开幕片、西班牙影展、美国圣地牙哥亚洲影展、巴西影展等盛会的【姆姆抱抱】，诞生至今透过官方网站和马不停蹄的试映活动，在短短两年间凝聚了超高人气，琳瑯满目的周边商品在小朋友心中热门程度，丝毫不亚於欧美和日本的动画人物，而在姆姆粉丝们的千呼万唤下，【姆姆抱抱我是姆姆】、【姆姆抱抱认识你真好】DVD大碟，终於要在七月和大家见面囉！除了分别网罗十三集温馨故事外，DVD还特别邀请蛋糕姊姊用活泼生动的口吻，为小朋友解说姆姆的心情故事，更邀请导演和製作监督等人来分享从情节、动画製作到音效等环节的製作过程，让您彻底拥抱最完整的姆姆.

「阿松」衍生「松犬」TV动画化决定 10月7日开播！

历史主义的恢复，史诗意识的张扬，在多元的民族矛盾、政治斗争和军事较量中，展示人物大喜大悲的命运。

纪录片《努尔哈赤》是高国栋工作室历时三年精心创作的一部大型历史纪录片。该片以大气精美的画面、丰富生动的镜头语言、跌宕起伏的故事，展示了一代枭雄努尔哈赤金戈铁马、血雨腥风的人生历程。2010年11月该片先后在央视《探索·发现》以及我台北方频道播出并取得良好反响。在2010全球华人纪录片网络盛典活动中该片获得了网上观众的热烈观看以及专业评审的高度评价，最终荣获优秀纪录片大奖。

纪录片《努尔哈赤》是高国栋工作室历时三年精心创作的一部大型历史纪录片。该片以大气精美的画面、丰富生动的镜头语言、跌宕起伏的故事，展示了一代枭雄努尔哈赤金戈铁马、血雨腥风的人生历程。2010年11月该片先后在央视《探索·发现》以及我台北方频道播出并取得良好反响。在2010全球华人纪录片网络盛典活动中该片获得了网上观众的热烈观看以及专业评审的高度评价，最终荣获优秀纪录片大奖。

This three part French TV serial for children (alternate versions exist as a feature, Manoel's Destinies, and a 4 part Portuguese TV serial, Adventure in Madeira) is the favourite of many devotees of Raúl Ruiz. This is because it ties the enchantment and mystery of Lewis Carroll, Carlo Collodi and the Brothers Grimm to the filmmaker's experiments with narrative strategies and what he calls the pentaludic model of storytelling (where characters are thrown dice-like into combinations and situations governed by the play of Chance and Destiny). 　　But this film for children is among his most complex works, hard to grasp in its totality. Often it can seem an arbitrary collection of free-associational images and words, bordering on nonsense. But attentive viewers will have the strong sense that there is method behind this near-madness. Otherwise, it could never produce the intense emotions it so clearly offers. Ruiz's obsessions from film to film bind the fragments together – within a single work and across projects – and the emotion comes from the totally unexpected forking taken within a well-worn territorial map. 　　Part One presents us with three possible worlds. In each world, seven year-old Manoel has a different response to an entreaty from the outside world. Fittingly, in this film in which nothing coincides, the three parts of the story do not coincide with the three-episode structure (the trinity-form recurs frequently in Ruiz). In this case, past, present and future – the unholy trinity or Time en soi – is the film's very protagonist, variously called 'long ago' (Part One), 'now' (Part Two), and 'future' (Part Three). At the outset, this gives the story an apparent order before digressions take it over. 　　Part Two (the status of which is at first confusing since it begins after the three mini-narratives of the first Part and before the end of Episode One) is entitled 'The Picnic of Dreams'. Whilst vaguely 'keeping to the storyline', it veers off in many different directions, where the thematic coupling ordinary/special replaces the familiar/unknown dualism of Part One. (Each Part is guided by a thematic 'dominant', a pair of notions that tend to exchange their meanings as it progresses.) 　　Part Three (beginning in Episode Two), entitled 'The Little Chess-Champion', hands the (until now) off-screen voice-over narration to Manoel himself. He promises to tell his own story, but adds that it's 'a story that I made up in my distant childhood and that happens in the future'. The tone is less Baroque, more Gothic, as Ruiz explores the 'wonders of the night'. The filmmaker's obsession in this section concerns perception and the deciphering of secret signs and codes.

历史主义的恢复，史诗意识的张扬，在多元的民族矛盾、政治斗争和军事较量中，展示人物大喜大悲的命运。

This three part French TV serial for children (alternate versions exist as a feature, Manoel's Destinies, and a 4 part Portuguese TV serial, Adventure in Madeira) is the favourite of many devotees of Raúl Ruiz. This is because it ties the enchantment and mystery of Lewis Carroll, Carlo Collodi and the Brothers Grimm to the filmmaker's experiments with narrative strategies and what he calls the pentaludic model of storytelling (where characters are thrown dice-like into combinations and situations governed by the play of Chance and Destiny). 　　But this film for children is among his most complex works, hard to grasp in its totality. Often it can seem an arbitrary collection of free-associational images and words, bordering on nonsense. But attentive viewers will have the strong sense that there is method behind this near-madness. Otherwise, it could never produce the intense emotions it so clearly offers. Ruiz's obsessions from film to film bind the fragments together – within a single work and across projects – and the emotion comes from the totally unexpected forking taken within a well-worn territorial map. 　　Part One presents us with three possible worlds. In each world, seven year-old Manoel has a different response to an entreaty from the outside world. Fittingly, in this film in which nothing coincides, the three parts of the story do not coincide with the three-episode structure (the trinity-form recurs frequently in Ruiz). In this case, past, present and future – the unholy trinity or Time en soi – is the film's very protagonist, variously called 'long ago' (Part One), 'now' (Part Two), and 'future' (Part Three). At the outset, this gives the story an apparent order before digressions take it over. 　　Part Two (the status of which is at first confusing since it begins after the three mini-narratives of the first Part and before the end of Episode One) is entitled 'The Picnic of Dreams'. Whilst vaguely 'keeping to the storyline', it veers off in many different directions, where the thematic coupling ordinary/special replaces the familiar/unknown dualism of Part One. (Each Part is guided by a thematic 'dominant', a pair of notions that tend to exchange their meanings as it progresses.) 　　Part Three (beginning in Episode Two), entitled 'The Little Chess-Champion', hands the (until now) off-screen voice-over narration to Manoel himself. He promises to tell his own story, but adds that it's 'a story that I made up in my distant childhood and that happens in the future'. The tone is less Baroque, more Gothic, as Ruiz explores the 'wonders of the night'. The filmmaker's obsession in this section concerns perception and the deciphering of secret signs and codes.