这部半小时的动画电影取材自朱莉娅·唐纳森撰写、阿克塞尔·舍夫勒绘制插图的同名儿童画本，由著名动画片《咕噜牛》的原班人马制作，讲述了一个关于友情与亲情的魔幻故事。善良的女巫在旅途中遇到了行行色色的动物，她邀请它们住到她的扫帚上，这让一直伴随她的小猫倍感失落。这群动物最后从恐怖的红龙手中救回了女巫，而作为回报，她制作了一把新的扫帚，让每个动物都在扫帚上拥有自己的空间。

Strange Luck is an American television series, starring D. B. Sweeney in the role of Chance Harper, a freelance photographer afflicted with a bizarre tendency to always be in the wrong place at the right time. As Chance himself says, "If I go to a restaurant, somebody chokes. If I walk into a bank, it gets robbed." Harper's strange luck began when, as a small child, he was the sole survivor of a plane crash that killed everyone else aboard, including both of his parents.

雪白小兔朵朵在温馨小家 与妹妹芽芽、兔妈妈一起生活。朵朵把打扫卫生变成"魔法游戏"—— 扫地=给地板挠痒痒、擦窗=给窗户擦亮眼睛、浇水=给花儿唱首歌， 引导怕脏、爱撒娇的芽芽一起把家里扫得亮晶晶。不同于救援类故事， 本片聚焦"孩子在家务里学会自理与担当"——把"不想动、怕脏、干不好" 变成"我能行、我帮忙、家更亮"。

资深设计师李哲深耕装饰行业十载，却在师傅的退休宴上遭遇不公安排，带着一把旧扫帚被迫离职。他并未就此消沉，凭借扎实的专业功底与恪守底线的职业操守创立启新装饰，坚守工程安全与品质标准，凝聚起一众实干伙伴。从接手棘手项目起步，他以过硬实力与诚信口碑破局，一步步在行业站稳脚跟，用实干与正道闯出了属于自己的事业天地。

Boasting the longest title in the Quays' entire output, this 1985 film is generally known as This Unnameable Little Broom, though the Quays themselves refer to it as Gilgamesh. It began life as a proposed hour-long Channel Four programme exploring aspects of the ancient Babylonian Epic of Gilgamesh, the oldest known surviving work of literature, which would combine puppet animation, dance sequences (courtesy of choreographer Kim Brandstrup) and live-action documentary elements. However, Channel Four were dubious about the project, and only agreed to fund a short animated sequence as a pilot - which is all that was ultimately made. But even when divorced from the original planned context, This Unnameable Little Broom stands up very well on its own as a short parable of cruelty and oppression. The Gilgamesh character is portrayed as a childlike figure, seemingly welded permanently to a tricycle, with a grotesquely swollen head that, Picasso-like, simultaneously presents both a profile and a frontal view. His 'kingdom' is a box-like construction, seemingly suspended in mid-air, with a distant forest just out of reach. At the start of the film, Gilgamesh sets various elaborate snares to lure Enkidu, the forest creature, into his domain. These range from conventional booby-traps to altogether more unsettling creations, notably the desk drawer containing what appears to be a detached, pulsing vagina (the Quays' typically oblique reference to the point in the original legend where Gilgamesh sends a prostitute to seduce Enkidu). Enkidu himself is a bird-like creature, partly made up of genuine animal skeletons, whose wide-eyed guilelessness proves his downfall. The film had numerous inspirations besides the Gilgamesh legend. The frenzied viciousness that pervades the film was a tribute to Austrian writer Konrad Bayer, the design of Gilgamesh was sourced from artwork by Heinrich-Anton Müller, one of a trio of 'outsider artists' (the others being Friedrich Schröder-Sonnenstern and Adolf Wölfli) that the Quays originally intended to dedicate their film to, but shyness prevented them. However, they weren't too shy to include a back-handed swipe in the title - 'Hunar Louse' is a satirical representation of Lunar House in Croydon, the headquarters of the Home Office's Immigration and Nationality Directorate, which called the Quays' visa status into question at the time they were making the film. Though this was alarming at the time, the experience helped fuel the paranoid, Kafkaesque atmosphere that pervades their film.

这部1985年的电影拥有奎氏兄弟（The Quays）作品中最长的片名，通常被称为《这把难以名状的小扫帚》（This Unnameable Little Broom），不过奎氏兄弟自己称其为《吉尔伽美什》（Gilgamesh）。它最初是作为英国第四频道（Channel Four）一档时长一小时的节目提案而诞生的，旨在探索古代巴比伦史诗《吉尔伽美什》的各个方面。《吉尔伽美什》是已知现存最古老的文学作品，该节目将结合木偶动画……

退休环卫工赵大川扫街三十年，用毕生积蓄帮儿子购置新房，乔迁当日却被拦在门外。孙女当众道出老人多次上门、在外久候的实情，全家知晓后深感愧疚，主动将老人接回家里。一家人终于明白，钱财能撑起新房，唯有真心才能让家真正圆满。

十年杂役被笑废物，直到宗门护宗大阵崩塌，长老束手无策之际，他拿起扫地的破扫帚轻轻一挥——天地变色，仙帝降临！‘不好意思，我只是个扫地的，顺便修了下阵！