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.
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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.
1896-06-30
7.1
A brief fantasy tale involving a strange fairy who can produce and deliver babies coming out of cabbages. This film is lost or never existed. Copies of it online are actually the 1900 remake.
One of the greatest of black art pictures. The conjurer appears before the audience, with his head in its proper place. He then removes his head, and throwing it in the air, it appears on the table opposite another head, and both detached heads sing in unison. The conjurer then removes it a third time. You then see all three of his heads, which are exact duplicates, upon the table at one time, while the conjurer again stands before the audience with his head perfectly intact, singing in unison with the three heads upon the table. He closes the picture by bowing himself from the stage.
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.
Down the gangway, photographers leave the deck of a riverboat in large numbers.
New teacher Chihiro has been on the job for three months. She does her job with great enthusiasm, but she has a secret that nobody must know. As a student, she accumulated debt in order to keep up with her well-to-do friends. She can’t pay it back on the wages of a teacher so she started working part-time as a Chat-Lady. In front of a web camera that hides her face, she shakes her breasts and hips. By chance, her student, Kazuaki discovers the web site.
A weary traveler stops at an inn along the way to get a good night's sleep, but his rest is interrupted by odd happenings when he gets to his room--beds vanishing and re-appearing, candles exploding, pants flying through the air and his shoes walking away by themselves.
The first movie ever censored for political reasons. The title refers to the then contemporaneous Dreyfus affair in which a Jewish military officer was falsely convicted of treason, and it was alleged that he was framed due to anti-semitism.
Three men are sitting around a table, two of them playing a game of Écarté. When the game is over, a domestic serves drinks.
Documentary exploring comedian Sacha Baron Cohen's rise to fame through rare archive video of his early television appearances and interviews with former associates.
A soldier stands guard at a sentry box and leaves it unprotected for a moment, a moment that two men take advantage of to put up posters where it is prohibited.
Director Christina Voros and producer James Franco pull back the curtain on the fetish empire of Kink.com, the Internet's largest producer of BDSM content. In a particularly obscure corner of an industry that operates largely out of public view, Kink.com's directors and models strive for authenticity. In an enterprise often known for exploitative practices, Kink.com upholds an ironclad set of values to foster an environment that is safe, sane, and consensual.
Black Beauty lives with Squire Gordon and his stable girl Jenny. Squire Gordon is forced to sell Black Beauty to a cruel society lady. He is a sweet-tempered horse who through the course of his life encounters many trying experiences. He endures through his unyielding courage and faith.
Women wash clothes in a washhouse on the edge of a river.
In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of "La sortie des ouvrier de l'usine Lumière" was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.
Brief, fragmented memories of Rohmer spoken by Godard, while the screen shows various titles of articles Rohmer wrote for Cahiers du Cinema.
In this documentary, we follow Stanley Kubrick as he creates one of the most controversial films of all time, one that retains its power to shock audiences, even after 35 years. At the time of its release, A Clockwork Orange created a firestorm of controversy. Through interviews with collaborators, filmmakers, screenwriters and authors, we come to appreciate Stanley Kubrick as an artist unafraid to take risks and court controversy, committed unwaveringly to his single-minded goal: the highest artistic quality of his films.
Produced and directed by George Albert Smith, the film shows a couple sharing a brief kiss as their train passes through a tunnel. The Kiss in the Tunnel is said to mark the beginnings of narrative editing. It is in fact, two films in one, hence the 2 min length. Firstly, the G.A. Smith film here for the central cheeky scene in the carriage. The train view footage however is Cecil Hepworth's work, entitled 'View From An Engine Front - Shilla Mill Tunnel', edited into two halves in order to provide a visual narrative of the train entering the tunnel before the kiss and then leaving afterwards. More information about the filming of the phantom train ride can be found searching for the Hepworth film separately.
They get ready to kiss, begin to kiss, and kiss in a way that brings down the house every time.
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.
Life in a Kyrgyz aul (village) in the mountains connected to the rest of the world by a cable bridge, and the teenage boys who are constructing the rope of the bridge. A rope bridge which the locals call “The devil’s bridge” forms part of each and every event which takes place in a small village lost in the mountains of the Kyrgyz Republic. A platform driven by a huge winch which they have to pull with their own strength to cross the torrent is their only link with the outside world. But the director of the documentary wondered something else: “Does this bridge unite or does it actually separate?” Through the mist and over the thrashing waters, the inhabitants of the area glide along their ropes. A film, in the director’s own words, about ordinary people who live in an extraordinary place.
Filmmaker Jonas Mekas follows the surrealist artist around the streets of New York documenting staged public art events.
A documentary about the artistic and verbal expressions of mentally ill people.
Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.
In the 1968 movement in Paris, Jean-Luc Godard made a 16mm, 3-minute long film, Film-tract No.1968, Le Rouge, in collaboration with French artist Gérard Fromanger. Starting with the shot identifying its title written in red paint on the Le Monde for 31 July 1968, the film shows the process of making Fromanger’s poster image, which is thick red paint flows over a tri-color French flag. —Hye Young Min
Karlon, born in Pedreira dos Húngaros (a slum in the outskirts of Lisbon) and a pioneer of Cape Verdean creole rap, runs away from the housing project to which he had been relocated.
A look at the life and work of Spanish filmmaker Mario Camus (1935-2021).
An exploration of the cinematic history of the folk horror, from its beginnings in the UK in the late sixties; through its proliferation on British television in the seventies and its many manifestations, culturally specific, in other countries; to its resurgence in the last decade.
Film journalist and critic Rüdiger Suchsland examines German cinema from 1933, when the Nazis came into power, until 1945, when the Third Reich collapsed. (A sequel to From Caligari to Hitler, 2015.)
Austrian actress Romy Schneider (1938) and French actor Alain Delon (1935), once fervent lovers in the early sixties, maintained a close friendship and a certain working relationship after their breakup until her death in 1984: a universal and eternal love.
A portrait of Robert, a troubled but poetic soul struggling with his purgatorial existence in a hackney scrapyard.
In 2016, DEFA celebrates its 70th anniversary: the film embarks on a journey into the exciting film history of the GDR. In a comprehensive kaleidoscope, the importance of DEFA productions is illuminated, the relevance of the films as propaganda productions for the GDR, which socio-political themes were in the foreground, but also which heroes DEFA brought to the screen and celebrated as people from the people.
Four lives that could not be more different and a single passion that unites them: the unconditional love for their cinemas, somewhere at the end of the world. Comrades in Dreams brings together six cinema makers from North Korea, America, India and Africa and follows their efforts to make their audiences dream every night.
This documentary captures the sounds and images of a nearly forgotten era in film history when African American filmmakers and studios created “race movies” exclusively for black audiences. The best of these films attempted to counter the demeaning stereotypes of black Americans prevalent in the popular culture of the day. About 500 films were produced, yet only about 100 still exist. Filmmaking pioneers like Oscar Micheaux, the Noble brothers, and Spencer Williams, Jr. left a lasting influence on black filmmakers, and inspired generations of audiences who finally saw their own lives reflected on the silver screen.
A short about American life and history produced for the millennium New Year's Eve celebration.
'Coffea arábiga' was sponsored as a propaganda documentary to show how to sow coffee around Havana. In fact, Guillén Landrián made a film critical of Castro, exhibited but banned as soon as the coffee plan collapsed.