光线传媒在推进中的动画项目数量众多，《去你的岛》《罗刹海市》《大鱼海棠 2》《相思》《朔风》《外婆，我的耳朵里有条鱼》在制作中

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以 2D 動畫耐人尋味著稱的山村浩二導演，新作《耳朵裡的四重樂隊》帶著既幽暗卻童心未泯的純真感，開啟人們私密的童年記憶。在山村浩二的VR宇宙中，主角是一位孤獨的男孩，每天都在泥地裡挖寶，他把發現的東西收集於餅乾罐。就像許多小孩曾有「看不見的朋友」，男孩耳朵裡也住著四位音樂家和兩隻金星花籃蝦，它們隨著男孩的眼淚而演奏、跳舞。 　　當觀眾沉浸在男孩的小小世界，即能抓取並翻看他心愛的收集物，每件物品都配有筆記說明。你看得見男孩耳朵裡的奇妙生物，隔著一道網簾，在封閉的內心世界裡演奏。長大的男孩成為助聽器推銷員，雖然不再聽到孤獨的聲音，但他的本質不變，最終他又如何與童年重逢？本作品由芥川獎作家小川洋子編劇，講談社 VR Lab 製作。成年男主角的日語配音由岡田將生擔綱演出。

以 2D 動畫耐人尋味著稱的山村浩二導演，新作《耳朵裡的四重樂隊》帶著既幽暗卻童心未泯的純真感，開啟人們私密的童年記憶。在山村浩二的VR宇宙中，主角是一位孤獨的男孩，每天都在泥地裡挖寶，他把發現的東西收集於餅乾罐。就像許多小孩曾有「看不見的朋友」，男孩耳朵裡也住著四位音樂家和兩隻金星花籃蝦，它們隨著男孩的眼淚而演奏、跳舞。 　　當觀眾沉浸在男孩的小小世界，即能抓取並翻看他心愛的收集物，每件物品都配有筆記說明。你看得見男孩耳朵裡的奇妙生物，隔著一道網簾，在封閉的內心世界裡演奏。長大的男孩成為助聽器推銷員，雖然不再聽到孤獨的聲音，但他的本質不變，最終他又如何與童年重逢？本作品由芥川獎作家小川洋子編劇，講談社 VR Lab 製作。成年男主角的日語配音由岡田將生擔綱演出。

A rare, hysterical gem from early Soviet cinema. CHEMI BEBIA (MY GRANDMOTHER) is a Georgian avant-garde slapstick silent comedy that was banned in the Soviet Union for almost 50 years. And it's pretty easy to see why. Whereas later Georgian filmmakers became rather adept at slipping political criticism under the noses of the Soviet censors, this film ends with a completely unambiguous rallying call for the death of bureaucrats. Lots of the creative techniques one associates with early Soviet cinema are on display here, but they are filtered through a sieve of early American slapstick and used mostly (and most successfully) for comedy. Imagine Harold Lloyd starring in Terry Gilliam's BRAZIL and you'll start to get an idea of what MY GRANDMOTHER is like. It's hilarious, and historically it's interesting to watch in that it's just as politically obvious as any other early Soviet film, but in an entirely different way. 　　Imaginative, innovative, amazing! This is a wonderful film that works on so many levels. As a farce, it's up there with Charlie Chaplin or Monsieur Hulot. It's really funny. The score is absolutely brilliant. The acting is top-notch. As a satire on corruption and bureaucracy, it hits the nail on the head. The elements of surrealism work tremendously well in acting, sets and scenes: just extreme enough to make the point well without losing touch with the underlying reality. Through all this, key themes are maintained. The director also plays effortlessly with gender, age and hierarchical roles, switching and undermining them relentlessly. Innovative film techniques, too, are used exceptionally well: puppetry, collage, distortion plus many more. One could doubtless see this film a dozen times and still find something new.

A rare, hysterical gem from early Soviet cinema. CHEMI BEBIA (MY GRANDMOTHER) is a Georgian avant-garde slapstick silent comedy that was banned in the Soviet Union for almost 50 years. And it's pretty easy to see why. Whereas later Georgian filmmakers became rather adept at slipping political criticism under the noses of the Soviet censors, this film ends with a completely unambiguous rallying call for the death of bureaucrats. Lots of the creative techniques one associates with early Soviet cinema are on display here, but they are filtered through a sieve of early American slapstick and used mostly (and most successfully) for comedy. Imagine Harold Lloyd starring in Terry Gilliam's BRAZIL and you'll start to get an idea of what MY GRANDMOTHER is like. It's hilarious, and historically it's interesting to watch in that it's just as politically obvious as any other early Soviet film, but in an entirely different way. 　　Imaginative, innovative, amazing! This is a wonderful film that works on so many levels. As a farce, it's up there with Charlie Chaplin or Monsieur Hulot. It's really funny. The score is absolutely brilliant. The acting is top-notch. As a satire on corruption and bureaucracy, it hits the nail on the head. The elements of surrealism work tremendously well in acting, sets and scenes: just extreme enough to make the point well without losing touch with the underlying reality. Through all this, key themes are maintained. The director also plays effortlessly with gender, age and hierarchical roles, switching and undermining them relentlessly. Innovative film techniques, too, are used exceptionally well: puppetry, collage, distortion plus many more. One could doubtless see this film a dozen times and still find something new.

南城徐氏破产之后，徐熙寄宿在婶婶家，为了调查清楚当年的真相，按照计划一步一步接近沈听澜，却不知道这一切都在沈听澜的计划当中。两人经过互相拉扯，互相误会。最终胡同心意，终成眷属。徐熙也调查清楚了当年事情的真相

小曼达被强奸后被丢弃在贫民窟的垃圾堆里，强奸犯是当地政客儿子，警察选择包庇罪犯，曼达的父母关心的是自己尊严，但外婆不会接受这种不公。

小曼达被强奸后被丢弃在贫民窟的垃圾堆里，强奸犯是当地政客儿子，警察选择包庇罪犯，曼达的父母关心的是自己尊严，但外婆不会接受这种不公。