现在到开始画画做手工的时间啦！这部动画里面将教会小朋友们学习绘画或者制作巴塔木系列里面所有的角色们。除此之外，还是秉成其原有特色，教会小朋友们颜色、形状等英文词汇。

离结婚还有一个月的文浩和善英在去父母家的途中把车停在了休息所。文浩去买咖啡的时候，善英接了一通电话后急忙跑出去，等文浩回来看到的是被打开的车门…

《Train》讲述在杀人事件发生之夜，因瞬间的选择而分裂的两个世界中，为了保护珍贵的人而介入连环杀人的刑警的平行世界的悬疑电视剧。

讲述男主心爱的女人被连环杀人魔害死后，男主到她生活的平行宇宙里守护她的故事。

半年前妻子车祸去世，三个月前追捕嫌犯过程中遭枪击被停职，1992年对搜查课的刑警本间俊介（上川隆也 饰）来说真是多事之秋。在康复期的某个晚上，亡妻在某银行供职的堂弟和也前来拜访。和也此前与名叫关根彰子（佐佐木希 饰）的女性在交往，正在谈婚论嫁之际他得知对方负债累累业已破产的经济状况，此后彰子突然从他的生活中消失了。在和也的拜托下，本间展开独立调查，却发现真正的关根彰子另有其人，他按照仅有的线索不断追查，真相渐渐浮出水面，这一切的背后藏着令人唏嘘不已的残酷故事…… 　　本片根据推理小说家宫部雪的同名获奖作品改编。

刘伽茵的《火车》, 外景地就在她家附近的铁路边，故事表现的是向往与善良：一对母女有隔阂；一个小男孩总是爬过矮墙到铁轨上寻找他喜欢的小东西，女儿为了避免男孩被火车轧死，就将矮墙砌高；男孩还是爬过矮墙，身体却被矮墙上的突起物刺破而死去；母亲得知此事后，遂与女儿和解。 　　这个短片虽然只有17分钟，却因其浓郁的人性关怀，使刘伽茵获得了当年北京大学生电影节短片竞赛单元的最佳导演奖。 　　片长:17分05秒

刘伽茵的《火车》, 外景地就在她家附近的铁路边，故事表现的是向往与善良：一对母女有隔阂；一个小男孩总是爬过矮墙到铁轨上寻找他喜欢的小东西，女儿为了避免男孩被火车轧死，就将矮墙砌高；男孩还是爬过矮墙，身体却被矮墙上的突起物刺破而死去；母亲得知此事后，遂与女儿和解。 　　这个短片虽然只有17分钟，却因其浓郁的人性关怀，使刘伽茵获得了当年北京大学生电影节短片竞赛单元的最佳导演奖。 　　片长:17分05秒

Trains opens with a quote from Franz Kafka: “There is plenty of hope. An infinite amount of hope. But not for us.” These words hang like a dark cloud over this found footage documentary, which creates a collective portrait of people in 20th century Europe, capturing their hopes, desires, dramas, and tragedies. 　　Powerful scenes showing steam locomotives and railroad cars being assembled feel like a celebration of human ingenuity and labor. People dressed in festive attire embark on a rail journey. But these cheerful scenes soon make way for military transport: soldiers being deployed to the frontlines—quickly followed by civilians evacuating, a procession of ragged prisoners-of-war, and amputee soldiers. 　　Times change, the pattern repeats. The archival material in this wordless film evokes an inevitable cycle of delight and destruction, beauty and bitterness. The image of a tangle of railroad tracks and switches raises the inevitable question: Which route will humanity choose?

Trains opens with a quote from Franz Kafka: “There is plenty of hope. An infinite amount of hope. But not for us.” These words hang like a dark cloud over this found footage documentary, which creates a collective portrait of people in 20th century Europe, capturing their hopes, desires, dramas, and tragedies. 　　Powerful scenes showing steam locomotives and railroad cars being assembled feel like a celebration of human ingenuity and labor. People dressed in festive attire embark on a rail journey. But these cheerful scenes soon make way for military transport: soldiers being deployed to the frontlines—quickly followed by civilians evacuating, a procession of ragged prisoners-of-war, and amputee soldiers. 　　Times change, the pattern repeats. The archival material in this wordless film evokes an inevitable cycle of delight and destruction, beauty and bitterness. The image of a tangle of railroad tracks and switches raises the inevitable question: Which route will humanity choose?