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　　彼得和爺爺生活在鄉下，猶如驚弓之鳥(niǎo)的爺爺把自己和彼得都關(guān)在一個(gè)如同軍事堡壘的房子里面，避開(kāi)亂糟糟的街道，以及街道上流氓暴徒。同時(shí)警告彼得不許彼得到外面結了冰的湖面上玩，也不許他爬家門(mén)前的大橡樹(shù)。年少充滿(mǎn)好奇心的彼得趁著(zhù)爺爺熟睡之機，偷偷的跑到了外面結了冰的湖面上玩。不料一匹惡狼路過(guò)。憑著(zhù)機智和勇敢，彼得活捉了這只惡狼。但當他和爺爺把狼帶到鎮上時(shí)，發(fā)現人們對狼非常殘暴，最終彼得決定把這只狼重新放回到大自然中。
　　《彼得與狼》是俄羅斯作曲家普羅柯菲耶夫（Prokofiev）1936年為兒童寫(xiě)的一部交響樂(lè )童話(huà)，故事里面的人物都是用各種不同的樂(lè )器來(lái)扮演的。本片也榮獲2008年第80屆奧斯卡最佳動(dòng)畫(huà)短片獎。

　　This very Kafka-esque film is Keaton's response to the Fatty Arbuckle scandal.[citation needed] Even though the central character's intentions are good, he cannot win, no matter how inventively he tries. He gets into various scraps with police officers throughout the film. Eventually, he unwittingly throws a bomb into a police parade and ends up being chased by a horde of cops.
　　At the end of the film, Keaton's character locks up the cops in the police station. However, the girl he is trying to woo disapproves of his behavior and gives him the cold shoulder. Therefore, he unlocks the police station and is immediately pulled in by the cops. The film ends with the title "The End" written on a tombstone with Keaton's pork pie hat propped on it.
　　One of Keaton's most iconic and brilliantly-constructed short films, Cops was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in their National Film Registry in 1997.

　　動(dòng)畫(huà)短片《旭日》講述了一位年輕的戰士和她的家人踏上尋找圣地并實(shí)現愿望的探險之旅，Netflix 和 Production I.G 為這部短短的 4 分鐘手繪動(dòng)畫(huà)短片的開(kāi)發(fā)耗費了兩年的時(shí)間...

　　深藍夜空之下，寧靜深邃的大海中央，搖來(lái)一艘名叫“月神（La Luna）”的小船。船上坐著(zhù)祖孫三代，拖著(zhù)長(cháng)長(cháng)白胡子的爺爺，孔武健壯的父親，以及忽閃著(zhù)清澈明亮大眼睛的小男孩。爺爺送給孫子一頂帽子，似乎象征了某種重要儀式的開(kāi)始，對于男孩來(lái)說(shuō)，也許這便是他成為男人的證明。只是自古以來(lái)，一代與一代相互依存，卻總有思想上的鴻溝，割舍不掉的則是血緣之情。不知不覺(jué)間，散發(fā)著(zhù)乳白色皎潔光芒的滿(mǎn)月從海水中升起，懸浮夜空。爸爸支好梯子，男孩則背著(zhù)鐵錨爬了上去。原來(lái)，那發(fā)出光芒的竟然是遍布月亮表面的星星，它們穿過(guò)宇宙，似流星般墜落，裝飾著(zhù)這顆美麗的小行星。
　　陰晴圓缺，一如永世不變的約定……

　　“For two years starting in 2020, this work has been forming along the edges of disquiet and premonition, in fragments and intensities, through wandering and not-staying. It has tried to find language for and ways across the bizarre upheavals of social and political values with the rise of fascism in India and a global pandemic. It has insisted on being amongst the things that keep from falling apart. Filmed in Delhi, these incomplete fictions are of the people, places, and protests that keep the language of hatred at bay and absorb the city’s grief and euphoria. In them are the continuous echoes of a violent and tenuous present.
　　The false closures and tenuous associations in this video/essay compose a timeline of the city at an angle through the time of this work. There is a shadowy sense of a protagonist who un-dreams it all; a stranger, who it turns out, is no stranger at all.” Priya Sen

　　Serenading in the meadow to win the heart of someone.

　　2006年6月在A(yíng)nnecy國際動(dòng)畫(huà)電影節上評選出的“動(dòng)畫(huà)的世紀·100部作品”第21名。