Carmaux is in south-central France, near the Tarn River. As a brick of coke, about four feet high and three feet wide, is gradually pushed out of a smelter into a yard, one worker sprays it with water from a hose while two workers with long metal rakes wait to spread it out. Other workers buzz in and out of the foreground of the stationary camera. Atop the first level of the brick smelter, workers push full carts of coal along a track.
Carmaux is in south-central France, near the Tarn River. As a brick of coke, about four feet high and three feet wide, is gradually pushed out of a smelter into a yard, one worker sprays it with water from a hose while two workers with long metal rakes wait to spread it out. Other workers buzz in and out of the foreground of the stationary camera. Atop the first level of the brick smelter, workers push full carts of coal along a track.
1896-01-25
5.043
Pedestrian, trams, carriages and carts traffic at the intersection of two streets on La Canebière in Marseille.
Women wash clothes in a washhouse on the edge of a river.
"Jennifer Lopez: All I Have" was the first concert residency by American entertainer Jennifer Lopez. Performed at Zappos Theater (formerly The AXIS Theater) located in the Planet Hollywood Resort & Casino in Las Vegas, Nevada, the residency began on January 20, 2016 and concluded on September 29, 2018. The show has received critical acclaim for its production and Lopez's showmanship. The residency grossed $101.9 million after 120 shows, making it the sixth highest-grossing Las Vegas residency of all time, and the top residency by a Latin artist.
Through seven scenes, the film follows the life and destinies of stray dogs from the margins of our society, leading us to reconsider our attitude towards them. Through the seven “wandering” characters that we follow at different ages, from birth to old age, we witness their dignified struggle for survival. At the cemetery, in an abandoned factory, in an asylum, in a landfill, in places full of sorrow, our heroes search for love and togetherness. By combining documentary material, animation and acting interpretation of the thoughts of our heroes, we get to know lives between disappointment and hope, quite similar to ours.
Based on the sinking of the HMS Coventry at the end of the 1980s conflict between the U.K. and Argentina.
A biopic of NASCAR legend Dale Earnhardt, Sr., documenting the driver's career from his earliest days onward and also looking at the family he built along the way. Earnhardt's death in 2001 rocked the sport, but his seven championships and 76 wins made an impact on NASCAR forever.
An archival investigation into the imperial image-making of the RAF ‘Z Unit’, which determined the destruction of human, animal and cultural life across Somaliland, as well as Africa and Asia.
A little man buys a paper and begins to read it as he walks down the street. It is so absorbing -- as the title indicates -- that he doesn't notice anything else. He knocks down streetlights and walks into women who stab him with enormous hatpins, yet goes on reading.
A most perfect picture of the Pan-American Exposition buildings, including the Electric Tower and Temple of Music, as they appear at night.
John Wayne and an all-star cast tell the story of America.
Based on the original animated series Ben 10. Ben becomes targeted by an evil Mechamorph Warrior, named "Retaliator," who mistakenly blames Ben for something he did not do and attempts to destroy all aliens.
Kurt Wallander has bought a dream house by the sea, but his peace and quiet is soon shattered when a man is murdered and an explosion in one of Ystad's power grids shuts down the electricity in the whole city.
As Alex struggles with disturbing hallucinations, his wife Vera tries to help, until they both experience their own profound revelations.
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.
A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.
This scene is a part of the very first film shot produced by the Manaki Brothers. Despina, the Janaki and Milton Manaki's grandmother, was recorded weaving in one high-angle shot. For no apparent reason, the first shot made in Macedonia, in the Balkans in fact, made by these two cinematography pioneers, contains peculiar symbolics: at the moment when the grandmother Despina spins the weaving wheel, film starts rolling in our country.
The subject is two grotesque-looking human beings who are sitting on the deck of a ship. The two weird individuals sit cross-legged and do the bidding of a man in oriental costume. The point of the film seems to be directed at the fact that the bone structure of the two subjects makes them look like monkeys or apes, and the spectators seem to be trying to get them to behave like monkeys, that is, scratch themselves, etc.
Almost 200 women file by a device on the wall from which they take their time checks. A man runs half-way across the screen at the end of the film.
A camera on an overhead crane travels down a large, long aisle where men are shown working on large machinery on either side. Carts carrying equipment are shown traveling on rails down the aisles. There are also men walking in the aisles. From Bitzer's Westinghouse Works series.
On the left of the screen, a small group of men lift the top off of what appears to be a turbine with a crane and continue to check the machine, tightening various parts with wrenches. On the right side, a few men appear to be testing the workings of what may be a turbine.
Between 1950 and 1955, Henri Langlois tried to produce, on behalf of the Cinémathèque française, several films devoted to great artists, with their cooperation, by entrusting them with virgin film stock. Wrote Langlois on the unfinished project, epic in scope: "We had the idea of asking poets, painters, scholars, writers and even repressed filmmakers [...] to make films in 16mm, with the means at hand, without taking into account any commercial concern or censorship." What precious little came of the project was eight minutes of film from Matisse and twenty-some from Marc Chagall, released at a later date.
A very graceful dance with voluminous draperies, by Annabelle Moore, well-known on the metropolitan stage.
Reel 1, an oil field is located, drilled, brought in, and pumped. Shows the Garber Field in Oklahoma. Reel 2 shows how pipe is laid and cleaned. One section crosses the Red River. Includes views of an oil camp and of a casinghead gasoline extraction plant. Reel 3, oil is distilled at a refinery. Reel 4, wax is removed from oil, processed, and prepared for distribution. Oil products are carried in tank cars, trucks, barges, and ships.
In a sunny open air setting with a background of high, deep foliage trees, and a white-walled storeyed house, an acrobat with light shirt and trousers and white plimsolls is doing acrobats in a trapeze in the center of the area. Behind it, a pair of men in similar dress seem to be carrying barbells from one place to the other, rather then exercising with them.
The film shows a parade down Fifth Avenue, New York. In the foreground many children, both black and white, can be seen following alongside the parade. The participants in the parade include cowboys, Indians, and soldiers in the uniform of the United States Cavalry on horseback and riding horse-drawn coaches. Buffalo Bill can be seen on horseback, lifting his hat to the crowd. Filmed on 1 April 1901.
In the background is a row of three-masted sailing ships, at anchor, their sales furled. In the foreground, a simple pier that's more like a yardarm juts out above the water; about 15 boys of six or seven years of age are on the jutting wood, and they jump off into the water below. The water looks to be about three feet deep. They swim back toward the pier. A small motorized boat passes. It's a stationary camera; one take.
A languid, beautifully shot collection of landscapes, edited into a whimsical and touching film.
Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.
Women getting onto a rickshaw.
Young people dive into the sea by jumping off a manmade wooden raft, while a small boat loaded with passengers passes by.
A military horseback riding event from 1897.