ぼくの地球を守って MUSIC IMAGE VIDEO 〜金色の時 流れて〜

Shin has shut his heart ever since his mother died when he was young. His childhood friend Kotori has been looking after him ever since. Now that they are in the third year of high school, and it seems like they can finally move forward, another Shin from another Japan has suddenly appeared in front of them.

It is 300 years into the future. Earth's environment had been devastated by mankind's own foolish plans and humankind is beleaguered by the sentient forests which they have awoken. The world balance is tipped when a young boy named Agito stumbles across a machine that glowed in a strange blue hue inside a forbidden sanctuary.

Nishi is a loser who has a crush on his childhood girlfriend. After an encounter with the Japanese mafia, he journeys to heaven and back, and ends up trapped in an even more unlikely place.

Doraemon and his friends travel to the 22nd century to look for his golden bell, which was stolen by a notorious thief called Kaito DX.

Nobita and Doraemon use time tree Mochi and catch a big bird, which has been extinct for 500 years ago. To protect the animal, Nobita and Doraemon go to Beremon Island, overseen by a golden beetle named Herakles.

A sapling Nobita discovers is turned into a plant-boy with help from Doraemon, and becomes Earth's only hope at passing judgment from the dryadic aliens of the Green Planet.

After the destruction of Nibelheim at the hands of Sephiroth, Zack and Cloud are on the run from Shinra Inc. As they make their way back to Midgar, they recall the horrible events that happened at Nibelheim, as well as fight for survival against Shinra.

The seven short films making up GENIUS PARTY couldn’t be more diverse, linked only by a high standard of quality and inspiration. Atsuko Fukushima’s intro piece is a fantastic abstraction to soak up with the eyes. Masaaki Yuasa, of MIND GAME and CAT SOUP fame, brings his distinctive and deceptively simple graphic style and dream-state logic to the table with “Happy Machine,” his spin on a child’s earliest year. Shinji Kimura’s spookier “Deathtic 4,” meanwhile, seems to tap into the creepier corners of a child’s imagination and open up a toybox full of dark delights. Hideki Futamura’s “Limit Cycle” conjures up a vision of virtual reality, while Yuji Fukuyama’s "Doorbell" and "Baby Blue" by Shinichiro Watanabe use understated realism for very surreal purposes. And Shoji Kawamori, with “Shanghai Dragon,” takes the tropes and conventions of traditional anime out for very fun joyride.