Workers Leaving the Lumière Factory (1895)

A 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.

Sara 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.

The 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.

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.

Three 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.

A blue-collar worker on New York's depressed waterfront finds his life changed after he saves a woman attempting suicide.

A man has a fantastical nightmare involving, among other things, a grinning malevolent moon.

Shot 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.

Down the gangway, photographers leave the deck of a riverboat in large numbers.

A 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.