这是一部关于电影制作人和渔民之间友谊的电影。一个人因为口吃失去了说母语的能力，另一个人在波斯尼亚内战中失去了听力。他们寻找沟通的方法，而摄影机则调解他们日益增进的联系。

这是一部关于电影制作人和渔民之间友谊的电影。一个人因为口吃失去了说母语的能力，另一个人在波斯尼亚内战中失去了听力。他们寻找沟通的方法，而摄影机则调解他们日益增进的联系。

Production Co: Plasmation

芭比·马里布·罗伯茨和芭比·布鲁克林·罗伯茨将要开启英国乡村七日游，她们将要去往肯的姑妈卡森夫人的庄园，马里布听说那个庄园里有马，很是兴奋。抵达英国后，卡森夫人很热情地接待了两位芭比。后来，肯和马卡斯也启程前往英国去找芭比们。在卡森庄园，芭比们经历了马匹胡椒和钻石马鞍被盗事件，众人都被怀疑，芭比们也因此被卷入其中。为了澄清事实真相，两位芭比决定展开调查，她们与特工凯希蒂联手。随着调查的深入，芭比们追踪线索至威尼斯，怀疑皇家马术协会会长狄崔克和收藏家乔瓦尼与此案有关。芭比和伙伴们制订了周密的计划，在与乔瓦尼和狄崔克斗智斗勇的过程中，她们发现了马匹胡椒和龙卷风是姐妹，都是价值连城的皇家弗里斯马，最终她们成功找回了失窃的马匹胡椒和钻石马鞍。

In 1994, a closeted teen struggles to part ways with his 4 high school drama friends at their final murder mystery party before they leave for college.

被切割的关于马的五个段落。

The Horse (1967) was a wide-screen spectacle; it conveyed a never-ending energetic variation of galloping with constant changes of mobile brush strokes. The feeling of excitement in the dashing animals was immediately transmitted to the audience and the experience proved unforgettable. It won a prize at the Cracow Film Festival "for its exceptionally interesting animation technique".

The story of the film is simple: A young girl in the countryside raises a young horse and develops a deep relationship to the animal. But the war is becoming part of life, so in the end she has to sacrifice her horse and sell it to the military. 　　The idea of propaganda film has been discussed by various scholars. Donald Keene mentioned that it only takes the ending of a film like uma to turn an overall innocent story into propaganda. The film was in 1941 officially supported and praised by the Japanese government. An official government statement commented: “Feel Gratitude in your hear and lend yourself to support the war effort” and Army Minister Tojo Hideki commented: “Only by means of the heartfelt affection of the breeders can fine horses – a mobile weapon that will become increasingly necessary in the future – be raised.” 　　A film about a teenager fond of horses, that turns into a propaganda film – so why should you be interested? Uma directed by Kajiro Yamamoto is often regarded as being the first film with a major involvement of Akira Kurosawa – who apart from his job as assistant director was said to have a love affair with the film’s teen aged star Takamine Hideko. Takamine herself was already one of the greatest stars of Japanese cinema, affectionately referred to as “Deko-chan” by her fans. After the war she would appear in many famous movies, most prominently in the works of Kinoshita and Naruse.