Katsuma, Poppet, Snoodle, and the other Moshi Monsters must stop evil Doctor Strangeglove and his incompetent sidekick Fishlips from pulverising the recently discovered Great Moshling Egg.
Hungry mosquitos, in search of a meal, find that fruit, flowers and other such fare doesn't satisfy. One enterprising bug hits the jackpot - a human! However, the victim vigorously resists joining the food chain, causing a number of winged casualties. The little buggers wait until the man falls asleep, then set up a number of enterprises: cafes, bars, filling stations, all serving blood. Things are going well, but then the mosquito Cosa Nostra moves in, and ramp production into high gear.
Jack is trying to impress Susie with his ambition to visit the Land of the Giants. She watches as he demonstrates the strength with which he will conquer the giant. Then we see the cat and dog loading up the boat.
Bokanowski returns to the complex - and mind-bending - optical array of pinholes, mirrors, prisms, and refractive substrates of his earlier film, La Plage to create the whimsical and playful Au bord du lac. The film is composed of mundane, everyday scenes of recreation and leisure on an idyllic, sunny day at a park that overlooks a lake - rowing a boat, playing a game of volleyball, rollerskating, bicycling, reading a newspaper, sunbathing, riding on horseback, or strolling on the promenade - shot through optical distortions to create fractured and knotted images that resemble embellished, gothic fairytale illustrations or appear to resolve into morphing, geometric patterns of fluid motion. Evoking the vibrant colors and sun-soaked palette of an invigorated Vincent van Gogh in Arles, Bokanowski transforms the quotidian into an infinitely mesmerizing dynamic kaleidoscope of shape-shifting textures and self-reconstituting objects of organic, abstract art.
Dust, a split-personality cyborg of fluid gender, zooms through time and space in search of his/her own memories and a sense of understanding. S/he travels from the Planet of White Dust where war is constant, to the Planet of Blood and Swelling, a hybrid of his/her father’s body.
Ralph Wolf and Sam Sheepdog are friends, housemates and coworkers who become bitter enemies, but strictly while they're on the clock. A suit of armor, a skin diving outfit, a unicycle and a makeshift tank figure in Ralph's schemes.
After a brief review of the problems described in Freewayphobia #1 (1965), we see a new range of problems. These include: abrupt breakdowns due to poor maintenance; unsecured loads; running out of gas. We learn how to handle breakdowns properly. We also learn about situations that can affect the driver, like fatigue, alcohol, turnpike trance, and the weather.
In a world wherein cars act like humans, Junior wants to be a taxi, but his mother wants him to grow up to be a nice touring car like his father. Mom doesn't know that Junior sometimes skips school and ventures into the city to ride in traffic, drink hi-test gas, and race trains.
To the toccata portion of Bach's "Toccata and fugue in D minor," we watch a play of sorts. Blue smoke forms a background; a grid of black lines is the foreground. Behind the lines, a triangle appears, then patterns of multiple triangles. Their movements reflect the music's rhythm. Behind the barrier of the black lines, the triangle moves, jumps, and takes on multiple shapes. In contrast with the blue and the black, the triangles are warm: orange, red, yellow. The black lines bend, swirl into a vortex, then disappear. The triangle pulsates and a set of many of them rises.