In the series premiere, Baloo, an air cargo pilot, meets Kit Cloudkicker, a 12-year-old orphan, and takes him on as his navigator. He also loses his business to Rebecca Cunningham, a business major who becomes his boss. Meanwhile, Don Karnage, a notorious air pirate, uses a special gem stolen from Shere Khan's company, Khan Industries, to power a lightning gun and threaten Cape Suzette.
The film applies an unconventional narrative. It presents a subjective world through 47 scenes. The small events, interlaced by associations, express the irrational coherence of our surroundings. The surreal situations are based on the interactions of humans and nature.
A cute little guy is trying to do the right thing and clean up his neighborhood. However, when he approaches a garbage can to empty it, one thoughtless person after another come by and make an even bigger mess.
Tom is on the canals of Venice, singing opera. He ends up on a cruise ship, where another cat tricks him out of Jerry (who Tom has just caught), then mirrors his every move. Eventually the cats start chasing each other.
Hraï, Oko and Tour come across extraterrestrials in search of oil to repair their saucer and be able to return home. Together, they cross Europe, find themselves defending Bulgaria invaded by enemies, discover an aqueduct in Italy and narrowly escape the Inquisition in Spain.
Tur regrets being single until he meets a charming maiden to whom he promises a new pair of boots. He gets trapped at a witch’s sabbath hosted by the devil, who promises him a pair of boots in exchange for his soul.
Bluto dirties all of an office building's windows himself, to drum up business for his window cleaning service. When he gets to Olive's stenographer office, about ten floors up, she says no: Popeye's going to wash her windows. And the battle with Popeye is on.
A crazed bomber is terrorizing the city. Meanwhile, a young Porky Pig is a few cents shy of buying an ice cream soda; he starts earning it by picking up items people drop and handing them back to them.
With the screen split asymmetrically, one part in positive, the other negative, the film documents the evolution of simple celled organic forms into chains of cells then more complex images from tribal cultures and contemporary modernist concepts. The images react, interpenetrate, perhaps attack, absorb and separate, until a final symbiosis (or redemption?) is achieved.
Felix in Exile introduces a new character to the 'Drawings for Projection' series: Nandi, an African woman, who appears at the beginning of the film making drawings of the landscape. She observes the land with surveyor's instruments, watching African bodies, with bleeding wounds, which melt into the landscape. She is recording the evidence of violence and massacre that is part of South Africa's recent history. Felix Teitelbaum, who features in Kentridge's first and fourth films as the humane and loving alter-ego to the ruthless capitalist white South African psyche, appears here semi-naked and alone in a foreign hotel room, brooding over Nandi's drawings of the damaged African landscape, which cover his suitcase and walls. Kentridge has commented: 'Felix in Exile was made at the time just before the first general election in South Africa, and questioned the way in which the people who had died on the journey to this new dispensation would be remembered'.