The adventures of a young and happy bee who is sent by her queen to search for pollen, and in doing so she finds a new world that surrounds her, making friends with various forest creatures.
Three unlikely heroes - Nachi, a free-spirited coati; Xochi, a fearless monarch butterfly and Pako, a hyperactive glass frog - embark on an adventure to stop wicked coral snake Zaina from destroying their rain forest homeland.
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Exiled artist and poet Mustafa embarks on a journey home with his housekeeper and her daughter; together the trio must evade the authorities who fear that the truth in Mustafa's words will incite rebellion.
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It is 300 years into the future. Earth's environment had been devastated by mankind's own foolish plans and humankind is beleaguered by the sentient forests which they have awoken. The world balance is tipped when a young boy named Agito stumbles across a machine that glowed in a strange blue hue inside a forbidden sanctuary.
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Nishi is a loser who has a crush on his childhood girlfriend. After an encounter with the Japanese mafia, he journeys to heaven and back, and ends up trapped in an even more unlikely place.
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The maniacal baby of the Griffin family, Stewie, meets his future self. In doing this he discovers that his future image is not what he has anticipated because of a near death experience.
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The seven short films making up GENIUS PARTY couldn’t be more diverse, linked only by a high standard of quality and inspiration. Atsuko Fukushima’s intro piece is a fantastic abstraction to soak up with the eyes. Masaaki Yuasa, of MIND GAME and CAT SOUP fame, brings his distinctive and deceptively simple graphic style and dream-state logic to the table with “Happy Machine,” his spin on a child’s earliest year. Shinji Kimura’s spookier “Deathtic 4,” meanwhile, seems to tap into the creepier corners of a child’s imagination and open up a toybox full of dark delights. Hideki Futamura’s “Limit Cycle” conjures up a vision of virtual reality, while Yuji Fukuyama’s "Doorbell" and "Baby Blue" by Shinichiro Watanabe use understated realism for very surreal purposes. And Shoji Kawamori, with “Shanghai Dragon,” takes the tropes and conventions of traditional anime out for very fun joyride.
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After a global war, the seaside kingdom known as the Valley of the Wind remains one of the last strongholds on Earth untouched by a poisonous jungle and the powerful insects that guard it. Led by the courageous Princess Nausicaä, the people of the Valley engage in an epic struggle to restore the bond between humanity and Earth.
Animals band together to save the day when the evil Otto Von Walrus hatches a sinister scheme to accelerate global warming and melt the Arctic Circle.
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On the planet Ygam, the Draags, extremely technologically and spiritually advanced blue humanoids, consider the tiny Oms, human beings descendants of Terra's inhabitants, as ignorant animals. Those who live in slavery are treated as simple pets and used to entertain Draag children; those who live hidden in the hostile wilderness of the planet are periodically hunted and ruthlessly slaughtered as if they were vermin.
The Noharas must survive a hoard of man-eating killer cacti after Shin-chan's father relocates the family to Mexico for work.
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