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。

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).

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."

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."

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《扬帆远航大湾区——2025新年音乐会》是由中央广播电视总台、广东省人民政府、香港特别行政区政府、澳门特别行政区政府联合主办的新年音乐会，于2025年1月1日21:00在中央电视台综合频道、中央电视台综艺频道、中央电视台音乐频道，音乐之声、文艺之声、大湾区之声、香港之声以及央视新闻、央视频、云听、央视网、央视文艺等平台同步播出 ，主舞台设置在广东中山 ，由吕媛、刘冰担任总导演，任鲁豫、陈星、马跃、马凡舒、周启阳、陈贝儿担任主持人。

《2021新年音乐会——扬帆远航大湾区》是由中央广播电视总台、广东省人民政府、香港特别行政区政府、澳门特别行政区政府共同主办的新年音乐会，通过“同心粤港澳·乐迎新年”、“追梦大湾区·跃动世界”、“幸福粤港澳·粤立潮头”、“扬帆大湾区·悦向未来”四大篇章，全方位呈现粤港澳大湾区发展建设一盘棋，同根同源齐追梦的壮丽时代画卷。

晚会主舞台位于珠海横琴粤澳深度合作区，“城”“海”“人”“桥”等粤港澳三地地域元素彼此融合，交相辉映，形成了相互借重、彼此成全、融会贯通的艺术合力。 1.开场曲《大湾区协奏曲》 指挥：陈燮阳 演唱：曾小敏 董宝石 崔子格； 2.歌曲《共同家园》 演唱：万茜 张卫健 麦嘉欣； 3.歌曲串烧《热血燃烧》《莫妮卡》 演唱：陈小春 梁汉文 林晓峰 郑希怡； 4.歌曲《再回首》 演唱：杨千嬅 周笔畅； 5.歌曲《我的未来不是梦》 演唱：张艺兴； 6.歌曲《澳门就是这样》 演唱：澳门人乐队 王心妤； 7.歌曲《入海》 演唱：毛不易； 8.竞先组曲：《赛马》《野蜂飞舞》《沧海一声笑》 指挥：陈燮阳 演奏：方锦龙 劳黎 演唱：钟镇涛 吉克隽逸； 9.歌曲《彩云追月》 演唱：容祖儿； 10.大海组曲 演唱：陈彼得 胡夏 李克勤 龙紫岚； 11.歌曲《弯弯的月亮》 演唱：韩雪 周传雄； 12.歌曲《真的爱你》 演唱：王嘉尔； 13.《渔光幻想曲》 演奏：陈萨 王弢 演唱：阿云嘎； 14.家国组曲 演奏：吕思清 周昭妍 杜政贤 演唱：伍珂玥； 15.歌曲《好事要发生》 演唱：大张伟； 16.歌曲《繁星璀璨的天空》 演唱：周深； 17.歌曲《和韵》 指挥：陈燮阳 演唱：郁可唯 莫华伦 古淖文； 18.歌曲《梦湾》 指挥：陈燮阳 演唱：孙楠。

作品选取了维瓦尔第(Vivaldi)的《四季》交响曲作为配乐，基于此构成影片中所串联出的四大组合段落，并点出每一个段落所传达出的不同生命特质。在影片中，保罗•德里森运用了“分屏美学”，将八个屏幕上中下依次排成三列，每个屏幕传达的事件皆与季节有关。这些季节全与适宜的色彩所搭配：青和灰色为春季，蓝和灰色为夏季，黄和灰色为秋季，红和灰色为冬季，借着“分屏”来叙述情节，这也是德里森首创的动画表现形式，故事中的影像充满着诗意，传达出生命的美好与无奈。