Mavka - a beautiful forest nymph and soul of the Forest - faces an impossible choice between love and her duty as guardian to the Heart of the Forest, when she falls in love with a human - the talented young musician Lukash. Our story is about the magical power of love. That kind of love that enables human nature to find the magic within and reveals abilities and qualities that empower a person to reach beyond possible and to hold against evil and human vice.

　　In a world tormented by the Horror, the citizens of Birdabad accept the egg-eating tyranny of Kondor and his carrion crew as the price of safety. Gathered in exuberant daily ritual around the great Egguilibrium mechanism, which is tended by the silent owl, Hasan, they unthinkingly trade their eggs for fruit. Hupu, a beautiful and reckless young bird, is determined to save her egg from this terrible fate and with the help of Hasan, who is her husband, and a magical seed, she opposes Kondor and disrupts the system. In the wild chase that follows Hupu, Hasan, Kondor and a tiny busy-body chick called Mi, find themselves flung out of Birdabad into the jaws of the Horror. Terrified, confused, murderously angry with each other, this ill-assorted band form a reluctant alliance with a most peculiar guide, who promises to help them get home, if they will help him reach the Sun. Only Hupu knows that their guide is blind. Travelling from a vast modern city to the top of a volcano, down the ...

　　本片是第一部以动画形式拍摄的纪录片。以色列导演阿里•福尔曼19岁时作为以色列士兵亲眼目睹1982年黎巴嫩贝鲁特萨巴拉与沙提拉巴勒斯坦难民营大屠杀。二十多年后，失忆的福尔曼通过与当年的战友、朋友、心理医生和亲历惨案的军人与记者的对话采访，试图回忆起屠杀的真相。随着福尔曼的 记忆被逐步唤起，1982年黎巴嫩战争的惨象逐帧浮现。
　　本片获得2008年恺撒奖最佳外语片、金球奖最佳外语片、洛杉矶电影协会最佳动画片奖和最佳纪录片亚军，并被提名奥斯卡最佳外语片、英国电影电视协会最佳非英语影片和最佳动画片，并入主2009年戛纳金棕榈奖主竞赛单元。

　　Iran, 1980. After an Iraqi missile strike, the oil metropolis of Abadan descends into chaos. Fourteen-year-old Omid, who works as a food delivery boy, is searching for his missing brother – and for an escape route out of the besieged city.

　　A megalith rises from a sandy desert – or rather, a scale model of such a landscape. “I am the archive”, says a young female voice while ominous string music nails viewers to their seats. This opening sets the stage for the narrative and figurative language of Rithy Panh’s dense mnemonic essay which uses stunning dioramas to tell a twenty-first century dystopian story. After a century of genocidal ideologies and destructive speciesism, animals have enslaved humans and taken over the world. In a wave of hope, the statues of the past have been removed but new ones are being erected to suppress the will of the people. This is now a planet of apes, boars and lions, and a zoological revolution is reversing and recreating the atrocities of the 20th century. As animal figures watch the film archives of our world, it feels as if Lumière has been transported into a film by Méliès or Willis H. O’Brien. We are all well aware that history repeats itself first as tragedy, then as a farce. The time has now come for this farce, in which “political language inhabits our dreams and consumes us”, to allow the possibility of a “graceful and tender insubordination” to emerge.