

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.
7.1A 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.
6.8A 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.
5.5A 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.
6.4Sara 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.
5.0The 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.
6.5Wintertime 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.
4.9Three 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.
6.9A blue-collar worker on New York's depressed waterfront finds his life changed after he saves a woman attempting suicide.
6.0A man has a fantastical nightmare involving, among other things, a grinning malevolent moon.
5.8Shot 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.
5.3Down the gangway, photographers leave the deck of a riverboat in large numbers.
5.5A 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.
5.3She 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.
5.2In 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.
5.8Félicien Trewey uses a basic prop to create comical hats and their accompanying caricatures.
6.1A 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?"
5.8In 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.
7.0A magazine writer poses as a Jew to expose anti-Semitism.
7.0The two remaining crew members of a mining operation in the Arctic Circle fight to survive against an alien creature.
7.2Zeitgeist: 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."
0.0On the Kainai (Blood) First Nations Reserve, near Cardston, Alberta, a hopeful new development in Indigenous enterprise. Once rulers of the western plains, the Bloods live on a 1 300-square-kilometer reserve. Many have lacked gainful employment and now pin their hopes on a pre-fab factory they have built. Will the production line and work and wages fit into their cultural pattern of life? The film shows how it is working and what the owners themselves say about their venture.
8.0Tells the mythical tale of a woman driven by power who is willing to do anything to get it.
A historic underground gay document. Shocking. Intimate. Taboo. A behind-the-scenes look at the performance art of a millennial artist who travels the world performing in public spaces using the medium of piss, video and the internet to break social norms.
0.0Saying No is an early 1980s educational film produced by Crommie & Crommie that, true to the title, presents a process for young women to successfully decline advances from the opposite sex.
0.0Dimitra Koutsiabassakos is 88 years old and lives alone in the village of Armatoliko in the Pindos mountain range, on the banks of the ancient river Acheloos, named after the mythical river god who fought Heracles for the favors of a woman and who could take on many forms. Dimitra’s home is located near the place where a great dam is being built and lies right in the middle of the area destined to become a lake after construction is completed. By a strange quirk of fate, the materials used in the construction of the dam are a product of a cement company named “Heracles”, so that it seems that the age-old contest between Acheloos and Heracles continues to the present day! Dimitris, Costas and Petros decide to pay their grandmother a visit and make a documentary.
0.010 May 1943. Something is spotted drifting ashore off the coast of Northwest Donegal, Ireland. Something that would change the lives of the local people forever.
7.0.TV is a found footage essay film: Voicemails left by an anonymous caller from the future guide us to the remote islands of Tuvalu, a place the global media has described as “the first country to disappear due to rising sea levels”. Surrounded by thousands of miles of open water, much of Tuvalu’s revenue comes from its country-code web extension .TV, a popular domain choice among global video-streaming and television industries. The caller describes how heat, digital screens, and distance gave him no choice but to leave his sinking home and escape into cyberspace where rising waters will never reach him.
6.01956. Three Hungarian friends hijack a plane to escape from the Iron Curtain.
0.0Ana and Claudia get trapped in a bathroom during the military occupation of the university. Claudia is caught by a soldier, leaving Ana alone for days in the bathroom, trying to survive and find hope. Based on the experiences of Alcira Soust during the military occupation of Ciudad Universitaria during the movements of 1968.
4.3A documentary about traditional Ukrainian arts and crafts and folk applied art, shot by Sergei Parajanov on commission from the Kyiv Television Studio. Ukrainian masters of pottery, carving, embroidery, painting, and other arts and crafts demonstrate their work in documentary and specially filmed scenes.
0.0One of the greatest Hamlets of the 20th century Sir John Gielgud reflects on the play and its title character with which he used to be intimately associated for ever since 1929.
6.2Arne Sucksdorff’s first film for Svensk Filmindustri, this lyrical short follows a fox cub through his playful explorations and predatory instincts in the Swedish forest. Blending moments of enchantment with unsentimental depictions of cruelty, the film captures the cycle of survival among animals with striking rhythmic editing and sensuous close-ups of fur, eyes, and forest textures. Rich in light and detail, Summer’s Tale became an enormously popular nature film and established Sucksdorff’s reputation for poetic documentary.
5.6A short documentary in the Chaplin Today series about Chaplin's "Monsieur Verdoux." Includes an interview with Claude Chabrol, whose 1963 film "Landru" concerns the same serial killer that inspired Chaplin's film.
6.0Young man is going somewhere by train with his love interest. While searching for water to drink tea, he encounters different periods of Estonian and Soviet history in each railroad car, though he loses everything he has at the moment.
6.3Archival footage of an American Nazi rally that attracted 20,000 people at Madison Square Garden in 1939, shortly before the beginning of World War II.
6.6Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."
4.0Raw footage received from photographer Harry Dunham revealed never before seen images of Mao Tse-Tung and the Eighth Route Army, inspiring Frontier to collectively shape a new film from desperate images, and to refine its dialectic editing.
7.0This short, silent film captures a Sunday afternoon at a community skating rink. Iconic Quebec director Gilles Carle has the camera follow toddlers learning to skate, young girls flashing their skates and boys decked out in the colours of their favourite hockey teams. A picture perfect moment on a bright winter's day.
5.5Women from Turkey and Mecklenburg are working together side-by-side at a fish-processing factory in Lübeck. As they work, they share stories about their lives, including their sorrows, griefs, hopes, and dreams, while expressing their longing for home and feelings of being lost in a foreign place.