After his owners abandon him in the woods, a puppy befriends a family of rabbits.

Set amid the rocky outcrops and dusty spinifex of the Australian outback, a supernatural monster tale documents the downfall of one man and his nemesis, the abominable apeman of aboriginal folklore, The Yowie.

Heckle and Jeckle see a seemingly helpless baby bird (who keeps saying he is only three years old) in danger as a cat is trying to capture it.

The boys are trying to hitch a ride with no luck. They see a car parked in front of a bank with the door open. They jump in against the driver's will, and a bank tobber runs out and jumps into his escape car, too. The boys get more of a ride than they wanted.

The talking magpies, Heckel and Jeckle, crash a movie studio driving a papier-mache limousine, and have no problem eluding the studio watchdog by disguising themselves, at various times, as knights-in-armor, Romeo and Juliet and, then, a couple of penguins. After many defeats, the vigilant-but-dumb bulldog finally kicks them of the lot.

A knitted figure sits in a wheelchair, unable to resist as birds and squirrels peck at it.

A man desperate to capture a traffic accident on his new dashcam accidentally unleashes a car crash day in his personal life.

A depressed man, dressed as a gorilla, performs a stand-up comedy set.

When an unlikely ally enters the Bloom family's world in the form of an injured baby magpie they name Penguin, the bird’s arrival makes a profound difference in the struggling family’s life.

In Pica Pica Kristersson invites the viewer to be enthralled for an hour and a half by the vicissitudes of magpie life. Opposing himself to the current nature films that tend to highly compress time in order to end up with a concentrated sequence of action-elements Kristersson leaves rhythm and tempo almost completely up to the magpies themselves. With great integrity he filmed the daily, social and emotional life of a species of birds that has many points of contact with human life. Thus, the movie offers us the oppurtunity to view our own everyday existence through other eyes, from a world right above our heads, but yet so far away.

While taking a walk, Chico Bento, a boor living in the backwoods of Brazil, tells his friend Zé Lelé and girlfriend Rosinha some fantastic stories happened to him: he'd been turned into a frog, been attacked by ants and by an animal resembling a jaguar, and some other doubtful cases.

Simmons, best-known for her photographs of miniature rooms populated by dolls and of oversized objects—such as a house, birthday cake, and pistol—balanced on female legs, both human and fake, brings these characters to life in a three-act mini-musical. The film is inspired by three distinct periods of Simmons’s photographic work: vintage hand puppets, ventriloquist dummies and walking objects enact tales of ambition, disappointment, love, loss, and regret. Working with composer Michael Rohaytn ("Personal Velocity") and cameraman Ed Lachman ("The Virgin Suicides" and "Far From Heaven"), Simmons’s puppets come to life in miniature domestic scenes that echo real life.