故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

故事发生在距今千百万年前的原始社会，皓月当空，月朗星稀。原始丛林的某个角落，山洞内闪耀着乳黄色的火光。镜头拉近，我们看见一个身穿兽皮、胡子拉碴的原始人正用手在岩壁上涂涂画画。他正在画一个体型丰满到极度变形的女子，女子裸露全身，线条曼妙流畅。而且壁画不止一副，而是画了很多女子一字排开。当最后一幅完成之后，我们的原始人艺术家开始以极其超前的方式欣赏着他的旷世杰作…… 　　本片为2002年法国昂西动画节开幕动画短片。

Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.

小鸭子的妈妈要到外婆家去，可是又放心不下看家的小鸭， 把小鸭子托给了鸡妈妈照料。鸡妈妈的孩子小花请小鸭子和它们一起玩“老鹰捉小鸡”的游戏。后来为争一条小虫，两个小朋友吵了架，小花不理小鸭子了。 小鸭子独在河里游来游去找小鱼吃，小花看了又羡慕又妒忌。突然小花发现了一只黄鼠狼，赶忙撒腿就跑，跑了一段才想起小鸭子，急忙跑回去找，可是小鸭子已被黄鼠狼抓住了。 小花急得大声喊叫，大鹅们闻声赶来，救出了小鸭子。小鸭子被咬伤了，躺在鸡妈妈家里养伤。小花心里很难过，后悔不该跟小鸭子闹意见，否则早点告诉它也免得使它遭受这种痛苦。小花为了弥补自己的过失，就找了个葫芦瓢当小船，到河边替小鸭子找鱼吃，不料小船被冲进了急流，幸亏几只勇敢的青蛙把它救了上来。 小花把捉到的小鱼带回家，送给小鸭子吃。两个小朋友从此比以前更好了。

小鸭子的妈妈要到外婆家去，可是又放心不下看家的小鸭， 把小鸭子托给了鸡妈妈照料。鸡妈妈的孩子小花请小鸭子和它们一起玩“老鹰捉小鸡”的游戏。后来为争一条小虫，两个小朋友吵了架，小花不理小鸭子了。 小鸭子独在河里游来游去找小鱼吃，小花看了又羡慕又妒忌。突然小花发现了一只黄鼠狼，赶忙撒腿就跑，跑了一段才想起小鸭子，急忙跑回去找，可是小鸭子已被黄鼠狼抓住了。 小花急得大声喊叫，大鹅们闻声赶来，救出了小鸭子。小鸭子被咬伤了，躺在鸡妈妈家里养伤。小花心里很难过，后悔不该跟小鸭子闹意见，否则早点告诉它也免得使它遭受这种痛苦。小花为了弥补自己的过失，就找了个葫芦瓢当小船，到河边替小鸭子找鱼吃，不料小船被冲进了急流，幸亏几只勇敢的青蛙把它救了上来。 小花把捉到的小鱼带回家，送给小鸭子吃。两个小朋友从此比以前更好了。

返乡青年Yad在Joris奶奶家工作，两人的相遇天雷勾动地火，一发不可收拾，历经母亲的不谅解、父爱的失落感、旁人的嘲讽，磕磕绊绊后，两人是否仍能相互扶搀？

返乡青年Yad在Joris奶奶家工作，两人的相遇天雷勾动地火，一发不可收拾，历经母亲的不谅解、父爱的失落感、旁人的嘲讽，磕磕绊绊后，两人是否仍能相互扶搀？

鸭妈妈要回娘家，可是又放心不下看家的小鸭，于是托鸡妈妈将它照料，小鸭在鸡妈妈的孩子小花的邀请下，与一群小鸡玩起游戏成了朋友。鸡爸爸教孩子们追虫子时，小花与小鸭因为一条虫子吵了起来，小花不再理睬小鸭，可是小鸭独自跑到河里去追鱼吃时，小花又禁不住跟去流下羡慕的口水。 　　草丛中一只黄鼠狼把小花吓得拔腿就跑，半路，它想起河里的小鸭，慌忙返身，可是小鸭已经被黄鼠狼抓住了。在鹅叔叔的帮助下，小鸭幸免遇难，但腿受了伤。难过的小花很后悔与小鸭闹矛盾，它决定用实际行动弥补过失。