The Umamusume are up to their usual hijinks—in teeny-tiny chibi form! Each 3-minute short in this miniseries is packed with silly fun, where you can't help but cheer ALL the racers on!

一部以劇情形式呈現的紀錄片。1995年，阿卡修發現自己是HIV陽性，他作了一個夢，夢見自己與一個男人和一個女人手牽手，一起穿越綠色叢林。如狐狸一般，阿卡修在夢中的叢林裡，尋找滿足慾望的獵物；現實也是叢林，正逐漸吞噬他。

旁观的人群在窃窃私语，他们说一台手风琴永远无法和一匹白色的马对话。

旁观的人群在窃窃私语，他们说一台手风琴永远无法和一匹白色的马对话。

In the beginning of the Twentieth Century, in Britanny, Pierre-Jacques narrates the story of his peasant parents since they got married in their province. Pierre-Alain and Anne-Marie got married and live with their parents in the same house. They work with their neighbors, women and men performing separate work. They have good moments with their plantation and bad moments with starvation. The Breton's religion, superstitions, beliefs and customs are transmitted by parents to their kids along with the stories told by the elders. When the men go to fight in the World War I, the women need to work harder to survive with their families. Despite the poverty, people is proud of their lives. Since the family of Pierre-Jacques cannot afford to have a horse, his grandfather Alain and his father put him on their shoulder to ride on the horse of pride.

美国无声记录短片《跃起的马》（英语：Bucking Broncho），由爱迪生制造公司（Edison Manufacturing Company）1894年出品，制作人威廉·迪克森（William.K.Dickson），摄影威廉·海斯（William Heise）。骑马者是李·马丁（Lee Martin ），是一位牛仔，也是“水牛比尔”马戏团西部秀的演员。该片记录了一次专业的表演，现场有观众在观看。

Also known as At Great Cost, this adaptation of a story by Mikhailo Kotsyubinsky—a Ukrainian writer executed in the Stalinist purges but rehabilitated in 1955—anticipates the wave of Sixties poetic cinema in its focus on star-crossed lovers and its celebration of nature. Set in the 1930s, the film begins as Solomia is forced into an arranged marriage. She escapes with her lover, Ostep, and for a while it looks as if the fugitives will make a clean getaway. Yet eventually they come to the attention of the police, who mistake them for being part of a gang of thieves. One of the major figures of the earlier current of socialist realism, Donskoy, in one of his first post-Stalin era productions, here loosens his style to reveal a delicate romanticism rarely felt in his earlier films.