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。

十年婚姻，一朝破碎，她在爱人和儿子的双重背叛中，遭遇空难，重生一世，她要救赎自己，抛弃曾经的束缚，手撕渣男，脚踩白莲，为曾经的自己讨回公道！

严淑宁前世死于丈夫失误造成的空难，死前看清丈夫与空姐的背叛。重生归来，她毅然放弃卑微婚姻，重拾飞行梦想报考飞行员。直面前夫打压、小三挑衅、孩子误解，她冷静取证、果断离婚。联手重生好友步步反击，挫败前夫所有阴毒算计，救下整架航班乘客，将渣男绳之以法。最终逆袭成顶级王牌机长，涅槃重生，活出璀璨人生。

林晴勤工俭学四年，只为了跟男友顾峰一起在云市站稳脚跟，没想到被闺蜜翘了墙角，林晴果断踢了渣男，将闺蜜赶出自己家，决心搞事业的时候，意外闪婚晴岚航空机长叶荣添...叶父实力宠儿媳，叶荣添也在相处中渐渐对林晴动心，多次维护。

安娜和小伙伴结伴前往海岛游玩，却意外与外界隔绝。大家并肩探索神秘海岛，携手解决遇到的难题。大家动脑思考、互帮互助，努力寻找离开海岛的办法，一场充满欢乐与成长的海岛冒险正式开始。

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."

沈望舒为黑心船东李德福搏命出海，四百多斤大鱼换来区区两千块。看清真相后她愤然割席，押上全部家当买下“远航号”，与同样不堪压榨的阿飞联手单干。为求出人头地，她将首航目标直指人人畏惧的魔鬼礁。凭借胆识与判断，她们冒险下网，果然探到密集鱼群。然而深渊之下暗藏杀机，拖网瞬间被暗礁卡死，刚启程就遭遇生死危机。风浪越大鱼越贵，属于她的征途，才刚刚开始。

船长李博文为筹孕妻手术费，冒险闯高危航线赚取百万分红，却被老板张芸丽刻薄对待，无奈愤然离职。张芸丽后续屡遭航运损失、彻底失去合作，求聘被拒后联合他人铤而走险，与李博文立下航海赛事赌约。李博文凭精湛航技完胜对手，对方违规行径败露受到惩处，他入职知名海运公司，妻子手术顺利，阖家开启幸福新生活。