Workers Leaving the Lumière Factory(1895)

The Arrival of a Train at La Ciotat(fr)

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

The Sprinkler Sprinkled(fr)

A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised and looks into the nozzle to find out why the water has stopped coming. The boy then lifts his foot from the hose, whereby the water squirts up in the gardener's face. The gardener chases the boy, grips his ear and slaps him in his buttocks. The boy then runs away and the gardener continues his watering. Three separate versions of this film exist, this is the original, filmed by Louis Lumière.

Baby's Meal(fr)

A father, a mother and a baby are sitting at a table, on a patio outside. Dad is feeding Baby her lunch, while Mum is serving tea.

Piggy(es)

Sara is an overweight teen who lives in the shadow of a clique of cool girls holidaying in her village. Not even her childhood friend, Claudia, defends her when she's bullied at the local pool in front of an unknown man. Her clothes are stolen and Sara must get home wearing nothing but her bikini.

Man Walking Around a Corner(xx)

The last remaining production of Le Prince's LPCC Type-16 (16-lens camera) is part of a gelatine film shot in 32 images/second, and pictures a man walking around a corner. Le Prince, who was in Leeds (UK) at that time, sent these images to his wife in New York City in a letter dated 18 August 1887.

Snowball Fight(fr)

Wintertime in Lyon. About a dozen people, men and women, are having a snowball fight in the middle of a tree-lined street. The cyclist coming along the road becomes the target of opportunity. He falls off his bicycle. He's not hurt, but he rides back the way he came, as the fight continues.

Playing Cards(fr)

Three friends are playing cards in a beer garden. One of them orders drinks. The waitress comes back with a bottle of wine and three glasses on a tray. The man serves his friends. They clink glasses and drink. Then the man asks for a newspaper. He reads a funny story in it and the three friends burst out laughing while the waitress merely smiles.

The Docks of New York(en)

A blue-collar worker on New York's depressed waterfront finds his life changed after he saves a woman attempting suicide.

A Nightmare(fr)

A man has a fantastical nightmare involving, among other things, a grinning malevolent moon.

Sack Race(fr)

Shot in 1896, this playful actuality captures workers from the Lumière factory in Lyon competing in a sack race. The scene shows the participants’ comic struggles and falls, with onlookers enjoying the lighthearted contest. Beyond its humor, the film offers a glimpse of everyday leisure and camaraderie among the Lumière workforce during cinema’s earliest years.

The Photographical Congress Arrives in Lyon(fr)

Down the gangway, photographers leave the deck of a riverboat in large numbers.

The X-Ray Fiend(en)

A romantic couple are transformed into skeletons via X-Rays. The film combines two very recent innovations: Wilhelm Roentgen's discovery of X-rays in 1895, and Georges Méliès' accidental realisation of the special-effects potential of the jump-cut in 1896.

La lupa(it)

She was tall, dark and thin, with a proud and voluptuous bust. They called her "The she-wolf" because she seemed never to be satisfied. All the men were obsessed with her but one day the she-wolf fell madly in love with young Nanni.

Horse Trick Riders(en)

In the background is a house. In the foreground, a groom holds the reins of a sleek black horse that stands in profile. A tall man, dressed in a black uniform, demonstrates how to mount the horse then encourages and tries to assist a man in white. The man in white keeps falling, and soon it's apparent that he's an putting on a show. His pratfalls become more elaborate and stylish. The horse stands patient. The little groom laughs to see such sport. And finally, the man in white finds a comic accommodation. The story, though brief, has a beginning, middle, and end.

Transformation by Hats(fr)

Félicien Trewey uses a basic prop to create comical hats and their accompanying caricatures.

Malice in Wonderland(en)

A jet-propelled white rabbit flies through the vulva of a supine woman into a wonderland where people and objects turn inside out, changing shapes and identities at warp speed. Events roughly follow Lewis Carroll's "Alice in Wonderland." The caterpillar and the queen make appearances, as does Alice. Images and symbols are often sexual. At the end, Alice asks, "Who has had such a curious dream?"

Line 9(es)

In a city with constant movement like the subway rides, the paths of Andrés and Miguel are crossing. It seems like the beginning of a new Romance but Andrés doesn't know which direction to take.

Gentleman's Agreement(en)

A magazine writer poses as a Jew to expose anti-Semitism.

Zygote(en)

The two remaining crew members of a mining operation in the Arctic Circle fight to survive against an alien creature.

Zeitgeist: Addendum(en)

Zeitgeist: Addendum premiered at the 5th Annual Artivist Film Festival. Director Peter Joseph stated: "The failure of our world to resolve the issues of war, poverty, and corruption, rests within a gross ignorance about what guides human behavior to begin with. It address the true source of the instability in our society, while offering the only fundamental, long-term solution."

Mustapha El Atrassi - La Vie Est Folle(fr)

Immersion in Mustapha's mind during the lockdown period.

Walfang im südlichen Eismeer(de)

The escort vessel with the harpoon searches for whales. The sailor on the observation mast points to a whale. The whale is hit with the harpoon. The prey is pulled into the main ship with winches, where it is cut up and processed immediately.

Der Blinde und sein Hund(de)

The film offers three excerpts from the life of a working blind person. It shows in particular the extent to which the guide dog can replace the blind person's lack of sight and how this results in a relationship of loyalty between man and animal of rare intimacy.

Night and Fog(fr)

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

Glamour Reel Docs: Dreamland(en)

Tommy Hilfiger Dreaming Perfume campaign - Coney Island, the playland of New York City, documents the preservation of the lifestyle, joys and history of this iconic Brooklyn neighborhood.

Glamour Reel Docs: Soul Tigers(en)

Soul Tigers Marching Band, Inc. has stepped into the breach to offer not just music education and the arts but the development of integrity, honorable personal conduct, and patience & respect for others, for some New York’s most underserved youth populations.

A Última Sala(pt)

In Song: Arturo Chacón-Cruz(en)

Journey to the sunny coastline of South Florida, where Chacón-Cruz — one of opera’s leading tenors — invites you inside his home, his artistry and his history to show how he’s embraced his identity as fuel for his work.

Vnuci Antoina de Saint-Exupéryho(sk)

Family Strands(en)

Three generations of women represent the past, present and future of hairstyling. Lisa Bruno, Jessica Fera and Keyra Bruno navigate a journey of growth in their careers and family; leading and learning from one another within their satisfyingly creative world of colours and cuts.

The Role of Chance(fr)

"The Role of Chance" ("La part du hasard") focuses exclusively on drawing and painting techniques used by the painter Henri Dimier. Shot over several weeks in the same artist's studio, the film shows works in their different phases, processes rarely explained or little known. It also addresses many practical issues (choice of paper, pigment grinding, reports drawings, put the tiles, cliches, etc) as well as broader questions of method and inspiration (use of space, the role of contours, power of suggestion perspectives, use of random processes). Patrick Bokanowski sought with this film to restore the spirit of this teaching, showing how to bend a note or sometimes revealing an essential mystery of creation.

Radioisotopes and the Age of the Earth(en)

The principles, methods and data from radioisotopes are explained very simply to illustrate conflicting ideas on the age of the earth.

Screen Snapshots (Series 1, No. 20)(en)

Intimate views of the movie stars of the Silent Era, at work and play; featuring Sessue Hayakawa, Lillian Gish and others.

Caucasian Gates(ru)

Short documentary about the Georgian Military Road. Captures Ingush and Ossetian settlements of the early 20th century

Naim and Wadee'a(en)

A documentary exploring social life in Yaffa before 1948 through a miniature portrait of a Palestinian couple, Wadee’a Aghabi and Naim Azar, constructed through the oral histories presented by their daughters and relatives.

7 mill. HK – en film om Burmeister & Wain(da)

Dams: The Lethal Water Bombs(en)

Documentary short about the disastrous dangers of aging, ailing dams.

Without Legends(ru)

In 1968 Herz Frank made Without Legends (Bez leģendām) at the Kuibishev studios, together with Aloizs Brenčs and Aleksandr Sazhin.

Castles in the Sand(ru)

One of the highest achievements of the new wave of Kirghiz cinema, which emerged in the mid-1960s. This story of a boy building sandcastles on the shores of the Issyk-Kul Lake becomes a documentary parable on the tensions between an artist and society.

Your Very Personal Poetry(ru)

This poetic core in youngsters is also touched in Stanukina's less known Your very personal poetry (Свои, совсем особые стихи, 1982), a wonderful film about a poetry class. It is here that one recalls Kogan's admiration of Lyalya's emotional documentary skills. And it is here that one recalls Kosakovsky's depiction of Lyalya as a person of extraordinarily prosperous feelings, sensitive and energetic, childish and female, shrill and quiet. The young poets are marvellously sneaky, respectfully adoring and creatively playing with - maybe even deconstructing - "Aleksandr Sergeevich", Mr. Pushkin, Russia's exclusive trade mark of high culture and literature.