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A man confronts his past during an experiment that attempts to find a solution to the problems of a post-apocalyptic world caused by a world war.
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.
Where Hazel Met the Villain is a 1914 movie starring Roscoe Arbuckle and Phyllis Allen.
A dazzling journey through time via the remarkable images of National Geographic photographer Frans Lanting and his epic "LIFE" project, which presents a stunning interpretation of life on Earth, from the Big Bang through the present.
Carl (Ignacyo Matynia) is searching for his missing dog in the middle of the woods. After hours of looking and ready to give up, he stumbles upon something incredibly bizarre; a brand new cabinet mysteriously placed in the woods. Carl's curiosity leads to unspeakable horrors that only his wife (Lauren Dougherty) has a chance of stopping! The Cabinet in the Woods is an obscure, daring cult thriller born from the alliance of multi-award winning director, Andrew Schwarz (SEPARATION), and cinematographer/editor, Bob Klein. Featuring thrilling special effects and makeup by Hinano Leung and Cuty Lin, these ambitious filmmakers have created a body horror classic that has to be seen to be believed.
A fisherman once caught a talking golden fish. He gave him his freedom and was allowed to make a wish in return. He asked for a boat, but this was not enough for his wife, who demanded a house. Driven by his wife's greed, the fisherman demanded more and more until he had lost all the wealth he had gained.
A man dying of thirst descends further down a labyrinth consisting of nightmarish Bosch-esque creatures.
Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.
Under the scalding heat of the summer sun, two young men find shelter in the woods of a local park. Unbeknownst to them, they’re thrust into a summer of exploration, emotion, and romance. But is love enough?
One of Rimmer's early 2000s video works which he made by hand-painting 35mm film, running it on a flatbed viewer, and shooting it off the screen with a video camera to then subject it to further manipulation.
I Met a Man is a piece of whimsy inspired by the ever present whistling wind on the Irish coast of County Cork where the filmmaker was living when she made the film. The film is scratched in 35mm film stock with color added in video postproduction.
A visceral descent into depths of a depraved mind, Paranoid takes the viewer on a dark trail into the roots of insanity where only fragments of reality remain to color the desperate existence of a tortured woman.
A short film exploring the notion of identity in relation to our actions and society's perception of individuals.
Being scolded while playing, three children plot small revenge on an old lady. A decision they regret later.
Sun Scream tells the comedic tale of a down-on-his-luck vampire named 'Pippin', and his last-ditch efforts to sell at least one bottle of sunscreen before facing the wrath of his ferocious boss 'Cy the Cyclops'. Luckily for Pippin, the truck of an extremely sunburned farmer breaks down in front of his stall on the hottest day of the year. However, 'Billy' ain't no bumblin' yokel, and Pippin will have to do everything in his power to prove his product will protect anyone, even a vampire, from the sun's deadly rays.
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.
Now aged 17, Antoine Doinel works in a factory which makes records. At a music concert, he meets a girl his own age, Colette, and falls in love with her. Later, Antoine goes to extraordinary lengths to please his new girlfriend and her parents, but Colette still only regards him as a casual friend. First segment of “Love at Twenty” (1962).
The old man’s daughter married the foreigner and moved abroad. Only his neighbor Gienyk remembers his name. Others call him “Beard”. “Beard” feeds hens, smokes cheap cigarettes, goes fishing as an ordinary villager. But nobody, even Gienyk knows what’s on his mind. His daughter visits him while passing by. He’s not at home at that moment. When he comes back, he founds his daughter on the threshold, ready to leave. The old man sees off his daughter with sadness. And then takes the gun. Everything’s going to change in a moment… The Beard will disappear.
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