以下是来源于IMDb上的评论 　　'Voyage into Next (1974)' is a quaint little anti-war statement, the sort of laid-back, hippie-inspired short film that one would expect the 1970s to have produced. But it was also directed by John and Faith Hubley, a husband-and-wife animating team whose work is more subtle and understated than most. Many of the pair's films were produced by animating unrehearsed conversations (usually) between two people, and I had previously enjoyed their 'Windy Day (1968),' which excellently utilised this free-wheeling technique. 'Voyage into Next' was obviously more tightly-scripted, and that the film was to be an anti-war cartoon restricted the voice actors (namely Maureen Stapleton and Dizzy Gillespie) in which conversational paths they could take. Stapleton and Gillespie play Mother Earth and Father Time, respectively, as they observe the destructive conflicts waged between the human nations (represented here as floating boxes) and ponder why our species so unthinkably forgot the virtues of sharing that allowed our ancestors to progress beyond the Stone Age. 　　There's nothing particularly impressive about the Hubleys' style of animation – minimalist line-drawn human figures highlighted with soft shades of colour – but their style is distinctive, later influencing short films such as the Oscar-winning 'Leisure (1976).' The two well-known voice actors are perfectly chosen (Dizzy Gillespie has one of the coolest-sounding voices ever), and the jazz musician's music is employed successfully to create the film's lighthearted mood, despite the grimness of the subject matter. Mother Earth and Father Time oversee their lilliputian creations, hidden amid mini puffs of artillery smoke, and contemplate their inability to alter human history. The future, it seems, is not in the hands of the gods, but in our own. Of course we have the ability to achieve peace and mutual understanding once more… but will we attain it in time? 'Voyage into Next' was nominated for an Academy Award in 1975, but lost out to the inferior claymation 'Closed Mondays (1974).

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。

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."

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."

用偽錄片形式拍攝，講述四位年輕人追夢的故事：事業型又追尋幸福的樂樂 (27歲)、憤世火爆的「炒工王」滴滴仔 (23歲)、只相信網絡世界，一心想成為KOL的Daisy (21歲)、來自內地希望進軍香港電影的阿俊 (28歲)。

用偽錄片形式拍攝，講述四位年輕人追夢的故事：事業型又追尋幸福的樂樂 (27歲)、憤世火爆的「炒工王」滴滴仔 (23歲)、只相信網絡世界，一心想成為KOL的Daisy (21歲)、來自內地希望進軍香港電影的阿俊 (28歲)。

科幻电影《未来未来》立项，讲述了两百年后，某神秘公司制造出一批超能力者，并利用神秘技术对其进行操纵。一部分超能力者反抗试图救出所有的同类，寻找最初拥有超能力基因的三位“超能始祖”的故事。

科幻电影《未来未来》立项，讲述了两百年后，某神秘公司制造出一批超能力者，并利用神秘技术对其进行操纵。一部分超能力者反抗试图救出所有的同类，寻找最初拥有超能力基因的三位“超能始祖”的故事。

剧中三位高中生的生活因为五月天的音乐而产生了纠结，而现实中在台湾高压教育体制底下，高中生之间的恋情是不被允许的，每个人又都需要为了联考升学参加补习……面对不完的被要求及禁忌，每个人在求学过程中都要面对压力。