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The unlucky in love writer Bandaged searches for a moral of the story that explains why his romantic experiences never end in "happily ever after." The conflict worsens when... Ops, better not give any spoilers!
As a single parent in an unfamiliar country, Ma’s entire life centers around raising Luan, her rambunctious young daughter. Likewise, Luan spends her childhood indulging in endless quality time with her playful, loving mother. However, as Luan grows up, it isn’t long before daily life interferes and causes mother and daughter to grow apart. By channeling their feelings into cooking, the two strive to find their way back to each other, one homemade meal at a time.
After the original run of the television series, an OAV music video titled Genesis Climber Mospeada: Love Live Alive was specially (mostly due to demands of hardcore Mospeada fans) released in Japan in September 1985. The music video consisted of both old and new footage. The story of Love Live Alive chronicled the events after the ending of the original Mospeada, featuring Yellow Belmont as the main character. The music video focused on Yellow's concert and also on his flashback of past events.
While the battle rages around an emptied city, one citizen battles loneliness through a variety of daily rituals.
Donald visits the house of his new love interest for their first known date. At first Daisy acts shy and has her back turned to her visitor. But Donald soon notices her tailfeathers taking the form of a hand and signaling for him to come closer. But their time alone is soon interrupted by Huey, Dewey and Louie who have followed their uncle and clearly compete with him for the attention of Daisy. Uncle and nephews take turns dancing the jitterbug with her while trying to get rid of each other. In their final effort the three younger Ducks feed their uncle maize in the process of becoming popcorn. The process is completed within Donald himself who continues to move wildly around the house while maintaining the appearance of dancing. The short ends with an impressed Daisy showering her new lover with kisses
Pontus Hultén's X consists both of animated, geometric sequences and of other photographic scenes reminiscent of home movies. In the geometric part of the film, Hultén works with the rhythmic displacement of contrasts and patterns in bright primary colors. Geometric images are intertwined with jazz to illustrate analogy of form. The photographic part consists of family sequences of various persons. The catalogue of Arbetsgruppen för film of 1960 lists the work as unfinished. (Filmform)
