At 17:00 every day, Andrew, a middle-aged man, drives home from work through Melbourne’s outer suburbs in peak-hour traffic. Occasionally, he offers a lift home to a younger colleague, David. Over a year, their tentative small talk gives way to a warm friendship and open conversation within the confines of the vehicle, incrementally revealing their lives. 　　One may wonder what a three-hour film, set almost entirely in a car and shot with a fixed camera from the back, can deliver? The answer is an unexpectedly engaging and entertaining observation of the rhythms of daily life, and a catalogue of suburban worries. In sensorial terms, The Plains charts the passage of time as the seasons change. The pitter-patter of rain and the familiar cocoon of the car provide a sense of comfort and safety from the outside elements. The car is the liminal space between work and home, as the day is pondered, the night planned. Documentary elements exist beyond the windscreen, as a fiction courses through the vehicle. The Plains is a road movie unlike anything you have seen before.

At 17:00 every day, Andrew, a middle-aged man, drives home from work through Melbourne’s outer suburbs in peak-hour traffic. Occasionally, he offers a lift home to a younger colleague, David. Over a year, their tentative small talk gives way to a warm friendship and open conversation within the confines of the vehicle, incrementally revealing their lives. 　　One may wonder what a three-hour film, set almost entirely in a car and shot with a fixed camera from the back, can deliver? The answer is an unexpectedly engaging and entertaining observation of the rhythms of daily life, and a catalogue of suburban worries. In sensorial terms, The Plains charts the passage of time as the seasons change. The pitter-patter of rain and the familiar cocoon of the car provide a sense of comfort and safety from the outside elements. The car is the liminal space between work and home, as the day is pondered, the night planned. Documentary elements exist beyond the windscreen, as a fiction courses through the vehicle. The Plains is a road movie unlike anything you have seen before.

讲述了中国历史上与治水相关的26个故事。如神话中的女娲补天、精卫填海和历史上的大禹治水、西门豹、隋炀帝开大运河等，都是脍炙人口的故事题材。动画片旨在更多地传递人与自然和谐相处、“天人合一”的中国传统治水理念。

讲述了中国历史上与治水相关的26个故事。如神话中的女娲补天、精卫填海和历史上的大禹治水、西门豹、隋炀帝开大运河等，都是脍炙人口的故事题材。动画片旨在更多地传递人与自然和谐相处、“天人合一”的中国传统治水理念。

水神共工为了争夺人间的主导权，与水神祝融发动了一场大战。共工撞倒了托举苍天的不周山，导致天河倾泻，洪水泛滥。共工企图用洪水控制人类。 　　鲧受命治水，为堵住洪水，鲧偷盗天物息壤，被天雷劈死。死后尸体化成一座大山，大山孕育了禹。禹出生后，结识了庚辰、伯益，和修行五百年的耳鼠，并救下受伤的应龙。舜将禹等带回都城，培养成才。正值洪灾加剧，舜不得已派禹等人治水。共工得知此事，率领一群妖神一路阻难。 　　禹经过涂山，邂逅女娇，坠入了爱河，却发现女娇中了共工手下无支祈的魔咒，即将变成石头。大禹毅然与女娇结婚。在变成石头前，女娇魔咒解除，还将开山斧交给禹。无支祈大怒，掳走禹的部下竖亥。禹救出竖亥，并将无支祈镇压在淮河。然后告别女娇，前往黄河治水。共工早已在黄河和去黄河的路上设下圈套。历经艰险与失败后，禹终于找到了治水方法——堵不如疏，破了共工的局，解决了黄河水患。正当禹要与女娇团聚时，又传来旱魃作乱、赤地千里的消息。禹打败旱魃，结果水火失衡，导致共工力量突增。共工召唤出九头蛇怪相柳进攻都城，又放出无支祈水淹涂山。是拯救天下百姓，还是去救女娇，两难之中的禹最后选择了前者，消灭了相柳。而女娇在无尽的等待中心死，变成石头。此时相柳尸体又化成毒液，即将流毒天下，禹不得不重走父亲老路，偷盗息壤，堵住了毒水。天将问罪，鲧为禹挡住天雷，粉身碎骨。禹终于回到女娇身边，悲痛万分。众人齐心协力，与共工决战，终于将其打败，天下再无水患。而禹则决定永远陪伴女娇石像，舜屡次征召要让出帝位，禹不为所动。终于某一天，女娇复生，还生下启。禹这时才接受舜的禅让，并请求天帝释放共工，令其戴罪立功，守护百姓。一个太平时代开启了。

动画片《大禹治水》以同名中国经典民间故事为题材，讲述了上古英雄大禹在大洪水泛滥人间时受舜帝之命，带领庚辰、伯益、竖亥等人克服重重艰难险阻，最终平定水患，打败水神共工的故事，同时穿插大禹与涂山氏的动人爱情及其三过家门而不入的上古佳话，展现了大禹心系天下、不畏艰险、公而忘私的精神。

A troubled man runs away to Mexico and is recruited to join a paramilitary group of teens fighting the drug cartels. He proves himself to the group, but questions their motive.

影片改编自徐光耀的同名小说，再现抗日时期革命先烈的光辉形象。

在大时代的历史变迁下，三位青年从梅陵小镇而来，历经商、政、警界的一生，怀揣着各自的秘密，最终他们又将归向何处?