In the poverty-stricken favelas of Rio de Janeiro in the 1970s, two young men choose different paths. Rocket is a budding photographer who documents the increasing drug-related violence of his neighborhood, while José “Zé” Pequeno is an ambitious drug dealer diving into a dangerous life of crime.
A libidinous construction worker uses his charm and bravado in an attempt to attain enough finances to build his dream project.
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.
A 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.
A Japanese family having tea.
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 male lion, right next to bars that are about 6 or 8 inches apart, keenly watches a uniformed zoo attendant toss small morsels of food into the cage. The lion alternates between finding the food on the cage floor and reaching through the bars to swipe at the man, who stays alarmingly close to the beast. In the background are the large rocks and brick wall at the back of the lion's habitat.
A maid is out walking with her young charge when a soldier takes the boy's place.
Follows a young cyclo driver on his poverty-driven descent into criminality in modern-day Ho Chi Minh City. The boy's struggles to scratch out a living for his two sisters and grandfather in the mean streets of the city lead to petty crime on behalf of a mysterious Madame from whom he rents his cyclo.
Set in France at the end of World War II Albert Dehousse finds out his father wasn't a war hero and his mother is a collaborator.
Travellers, nomads and salesmen make their way along a dam next to the Nile.
A story inspired by the life of one of the most remarkable figures in Brazilian popular culture, João Francisco dos Santos (1900-1976). In turn, bandit, transvestite, street fighter, brothel cook, convict and father to seven adopted children, dos Santos – better known as Madame Satã – was also a notorious gay performer who pushed social boundaries in a volatile time.
A moustachioed Frenchman presents his performing cats.
A street scene in Berlin near Hallesches Tor.
The earliest surviving Japanese film showing the martial art of kendo.
While his aide continuously turns the handle of the bellows, keeping hot a small furnace in front of him, a farrier prepares a horse's hoof to receive a new shoe.
A little girl sits at a table, holding a container of what appears to be some sort of food. Suddenly there's a flash of movement: a tortoiseshell cat, with long hair and a very furry tail, has leapt onto the table.
A quarrel between two women that a man attempts to separate.
A butcher puts a full-grown live pig into his large box-like machine. Moments later, he draws out a full range of pork products, many already packaged for sale.
Part 10 of Alexandre Promio's Passion Play, in which Jesus is nailed to the Cross.
