They get ready to kiss, begin to kiss, and kiss in a way that brings down the house every time.
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.
After the train station clerk is assaulted and left bound and gagged, then the departing train and its passengers robbed, a posse goes in hot pursuit of the fleeing bandits.
In a long, diaphanous skirt, held out by her hands with arms extended, Broadway dancer Annabelle Moore performs. Her dance emphasizes the movement of the flowing cloth. She moves to her right and left across an unadorned stage. Many of the prints were distributed in hand-tinted color.
"Nothing new, but an old thing done over again and done well. Some one has attempted to describe a kiss as "something made of nothing," but this is not one of that kind, but one of those old fashioned "home made" kind that sets the whole audience into merriment and motion, and has always proven a popular subject. It is very fine photographically and an exhibit is not complete without it." -Edison film catalog.
A pig dressed in fancy clothes flirts with a pretty girl, but she humiliates him and tears off his suit; she then makes him dance for her affections.
One day, Sayuri's family tells her it is time for her to strike.
Strong-man Eugene Sandow flexes his muscles and strikes a few poses in front of a black background. This was a short film shot by William K.L. Dickson for the American Mutoscope Company and is not the 1894 Edison film shot at the Black Maria.
Using one of the Lumière Brothers' first films of workers leaving the Factory as his starting point, Farocki provides an insight to changes in industrial production, workers' strikes and motion pictures-- via images of workers leaving factories throughout the years.
A woman arrives home after the ball. Her servant helps her undress and bathe.
Unprecedented access to Muhammad Ali's personal archive of "audio journals" as well as interviews and testimonials from his inner circle of family and friends are used to tell the legend's life story.
San Francisco filmmaker Konrad Steiner took 12 years to complete a montage cycle set to the late Leslie Scalapino’s most celebrated poem, way—a sprawling book-length odyssey of shardlike urban impressions, fraught with obliquely felt social and sexual tensions. Six stylistically distinctive films for each section of way, using sources ranging from Kodachrome footage of sun-kissed S.F. street scenes to internet clips of the Iraq war to a fragmented Fred Astaire dance number.
Dilli, a convicted criminal, is out on parole to meet his daughter. However, a drug bust sets him off on a mission to save the life of police officers.
Back from a tour of duty, Kelli struggles to find her place in her family and the rust-belt town she no longer recognizes.
Shaggy and Scooby-Doo quit their Saturday morning TV series in pursuit of Hollywood stardom.
Laura and Massimo's relationship hangs in the balance as they try to overcome trust issues while a tenacious Nacho works to push them apart.
María José and Alfredo are about to celebrate their 20th anniversary and their children give them a trip to the hotel where they celebrated their honeymoon, but a spell will make them repeat the same day.
Ian is a teenager who lives with his father on the outskirts by running small scams using Ian's ability to generate visual illusions upon unsuspecting victims. When one of his cons goes awry, his abilities publicly spiral out of control and Ian becomes the target of two rival organizations, each seeking to exploit his powers.
Victoria is a young mother trying to put her dark past as a Russian drug courier behind her, but retired cop Damon forces Victoria to do his bidding by holding her daughter hostage. Now, Victoria must use guns, guts and a motorcycle to take out a series of violent gangsters—or she may never see her child again.
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