1543年，一艘葡萄牙船首次访问日本，揭开了向远东扩张、文化交流和贸易的序幕。这个动画利用屏风，生动地展现了当年那些长鼻子的西方人是如何历尽艰辛到达彼岸，以及日本当时的风土人情。航行带来了大量的新奇物品，奇珍异兽，最主要的是，历史的新一页掀开了。

郭凡是新生传播公司的企划部主任，因老板常独断独行所以很不得志，原本由公司外制的一个电视节目收视率急降，电视台有意收回内制，公司其他各部门对郭凡交相责备，郭凡灰心之至。他大学时代的女友许映霞得了“工业技术成就奖”安排庆祝会，郭凡弼怀着情，想起自己仍毫无建树，更是自卑不已。就在庆祝会当天，孙以仁弱于授权郭凡执行当初由他而被否定的“大远景”节目更加充实，为了节目更需要郭凡举用许映霞为节目主持人，公司内部原先极力反对，但最后收视率证明了郭凡的决定完全正确，而且许映霞在一夜之间似乎成了观众的偶像。郭凡与映霞的感情日益增进，但由于映霞成为传播界的红人，过多的应酬与奉承使她茫然，连原本的电脑工作也荒废了，甚至连回去探望父亲的时间都没有。郭凡力劝不从之下自责不已，他觉得“大远景”虽然成功，然而却使电脑工作损失了一个人才，而传播界却多了一个空壳的偶像。最后，透过父亲以及节目中所播出的那些平凡的伟人的启示，映霞终于深切体认了名利的虚无与郭凡的真诚，而在节目中千万的观众诉说了她的抉择。

郭凡是新生传播公司的企划部主任，因老板常独断独行所以很不得志，原本由公司外制的一个电视节目收视率急降，电视台有意收回内制，公司其他各部门对郭凡交相责备，郭凡灰心之至。他大学时代的女友许映霞得了“工业技术成就奖”安排庆祝会，郭凡弼怀着情，想起自己仍毫无建树，更是自卑不已。就在庆祝会当天，孙以仁弱于授权郭凡执行当初由他而被否定的“大远景”节目更加充实，为了节目更需要郭凡举用许映霞为节目主持人，公司内部原先极力反对，但最后收视率证明了郭凡的决定完全正确，而且许映霞在一夜之间似乎成了观众的偶像。郭凡与映霞的感情日益增进，但由于映霞成为传播界的红人，过多的应酬与奉承使她茫然，连原本的电脑工作也荒废了，甚至连回去探望父亲的时间都没有。郭凡力劝不从之下自责不已，他觉得“大远景”虽然成功，然而却使电脑工作损失了一个人才，而传播界却多了一个空壳的偶像。最后，透过父亲以及节目中所播出的那些平凡的伟人的启示，映霞终于深切体认了名利的虚无与郭凡的真诚，而在节目中千万的观众诉说了她的抉择。

以下是来源于IMDb上的评论 　　'Voyage into Next (1974)' is a quaint little anti-war statement, the sort of laid-back, hippie-inspired short film that one would expect the 1970s to have produced. But it was also directed by John and Faith Hubley, a husband-and-wife animating team whose work is more subtle and understated than most. Many of the pair's films were produced by animating unrehearsed conversations (usually) between two people, and I had previously enjoyed their 'Windy Day (1968),' which excellently utilised this free-wheeling technique. 'Voyage into Next' was obviously more tightly-scripted, and that the film was to be an anti-war cartoon restricted the voice actors (namely Maureen Stapleton and Dizzy Gillespie) in which conversational paths they could take. Stapleton and Gillespie play Mother Earth and Father Time, respectively, as they observe the destructive conflicts waged between the human nations (represented here as floating boxes) and ponder why our species so unthinkably forgot the virtues of sharing that allowed our ancestors to progress beyond the Stone Age. 　　There's nothing particularly impressive about the Hubleys' style of animation – minimalist line-drawn human figures highlighted with soft shades of colour – but their style is distinctive, later influencing short films such as the Oscar-winning 'Leisure (1976).' The two well-known voice actors are perfectly chosen (Dizzy Gillespie has one of the coolest-sounding voices ever), and the jazz musician's music is employed successfully to create the film's lighthearted mood, despite the grimness of the subject matter. Mother Earth and Father Time oversee their lilliputian creations, hidden amid mini puffs of artillery smoke, and contemplate their inability to alter human history. The future, it seems, is not in the hands of the gods, but in our own. Of course we have the ability to achieve peace and mutual understanding once more… but will we attain it in time? 'Voyage into Next' was nominated for an Academy Award in 1975, but lost out to the inferior claymation 'Closed Mondays (1974).

故事讲述了被称为传说中的赌博师辰五郎，美女沙夜、从佣人身边溜出来的少年三吉、代替主人去伊势参拜的代参犬翁丸，以参拜伊势神宫为目标的公路剧。

故事讲述了被称为传说中的赌博师辰五郎，美女沙夜、从佣人身边溜出来的少年三吉、代替主人去伊势参拜的代参犬翁丸，以参拜伊势神宫为目标的公路剧。

83年法国ANNECY国际动画节FIPRESCI奖

SXSW 2024 - XR Experience Competition 　　Hidden in the lost belongings of an Astrobiologist are clues for the journey ahead. Welcome to "Astra," your ticket to the stars. This Mixed Reality Experience transports you from Earth to the deepest corners of the cosmos as you embark on a quest to uncover the key ingredients of life in the Universe. Step foot on planets and their dark moons in a search for future worlds and far away beings. 　　源自：https://schedule.sxsw.com/2024/films/2196926

During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction. 　　Several characters board a plane: a soccer team, a football manager, a decrepit old man, a group of nuns and an advertinsing girl. Dreams, delusions, ideas and concrete situations related or not an individual to another. Archive scenes of war, famine and religious pilgrimages interleave to a mythical woman Nature. 　　fiction, 35 mm, pb, 95 min, based on sequences in the chapter "O delírio" of "Memórias póstumas de Brás Cubas" de Machado de Assis. 　　Fernando Cony Campos supported originality in artistic creation. He conceived it in terms of proposal, perspective, viewpoint, style, means and whatever could help form a distinctive vision. As personalities like Jean-Luc Godard or Glauber Rocha had emerged, it was up to the filmmaker to seek an alternate path to theirs, though he might fall short with the possible geniality of either. 　　This proposition alone would enable us to bring him closer to the experimental sensitivity which would eventually explode at the end of the 60s. The contact points, however, exceeded the merely shared principles. Although largely a result of a poor, long, full of setbacks production, “Voyage to the End of the World” already had in the midst of its original design elements which distinguish it as one of the immediate precursors of “Udigrúdi”. Particularly, the overlapping of various levels of enunciation and of various forms of contemporary language gradually destroys the idea of a narrative, even a sophisticated narrative as the one presented by the New Cinema directors. 　　Furthermore, if the ideological universe of the film still enables its inclusion in the group of the New Cinema, there’s a refusal to purely and simply condemn the means (or media), as they are away from mass culture. Counterculture may be alienated, but it is expressive in its constituents and particularly indicative of a state of things. Political disillusionment coexists with the chaos of the inevitable transformation. Not surprisingly does the work develop from the casual meeting of a pocket book of “Posthumous Memoirs of Brás Cubas” at a newsstand and continues incorporating fascism, consumption, mysticism, poverty... and, in an innovative, emblematic way, ”Tropicalism” (the film is full of that movement classics "Joy, joy", "Soy loco for ti America" and "Tropicália".) 　　At some point, you hear a possible self-definition of the work: "The biggest error in this movie is you, you viewer. You’re in a hurry to grow old. And the film goes slowly. You love the direct, nourished narration. The regular, fluent style. And this film and my style are like cypresses which turn left and right, move and stop, mumble, bicker, laugh, threaten the sky, slip and fall. And they fall."