Mergulho

Suspected of theft, the Indian was discharged on the ranch-hand's accusation, but the foreman's suspicions against the hand were confirmed in time to reinstate the Indian. In gratitude the Indian captured the thief with the ranchero's money and saved the girl as well.

The unwilling dupe of her step-father, she became the decoy of the wealthy young man, but at the crucial moment she saved both herself and the young man and thus ended the game of the badgers.

Escolhas

Clarisse

Eu Também Prometo

A high-speed drive through the streets of Paris.

Disabled in a thunderstorm, Betty Boop and Grampy's plane lands on a tropic island where Grampy soon re-invents the comforts of home... until hostile, racially-stereotyped natives intrude.

Erkki Kurenniemi was arguably one of the first artists to propose or fantasise about a complete cultural surrender to cyber existence, and his entire career, covering such diverse fields as artificial intelligence, music, engineering, film, dance or rhetorics, testifies to this desire to escape the limits of the human body and transgress into a different dimension, bordering on techno-fetishism. In his 1964 short Electronics in the World of Tomorrow, Kurenniemi presents a slideshow of the most aseptic signs of technological imagination: diagrams, chips, machines, cold surfaces. But footage of human warmth also comes up - mostly in black and white, as if to give humans the status of a memory. Originally silent, the film was in this version endowed with a electronic music piece by Kurenneimi himself: a cold, aggressive soundtrack that could be said to present technology as a potentially menacing affair, although this is a reading that the director would certainly refute.

Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.

A short film

The Heart of 'The Natural'

Daniel's father died yesterday. He seems to be totally fine. Luckily his friends can teach him to be miserable.

A pawnbroker's assistant deals with his grumpy boss, his annoying co-worker and some eccentric customers as he flirts with the pawnbroker's daughter, until a perfidious crook with bad intentions arrives at the pawnshop.

A tailor's apprentice burns Count Broko's clothes while ironing them and the tailor fires him. Later, the tailor discovers a note explaining that the count cannot attend a dance party, so he dresses as such to take his place; but the apprentice has also gone to the mansion where the party is celebrated and bumps into the tailor in disguise…

Hutton's most impressive work ... the filmmaker's style takes on an assertive edge that marks his maturity. The landscape has a majesty that serves to reflect the meditative interiority of the artist independent of any human presence. ... New York is framed in the dark nights of a lonely winter. The pulse of street life finds no role in NEW YORK PORTRAIT; the dense metropolitan population and imposing urban locale disappear before Hutton's concern for the primal force of a universal presence. With an eye for the ordinary, Hutton can point his camera toward the clouds finding flocks of birds, or turn back to the simple objects around his apartment struggling to elicit a personal intuition from their presence. ... Hutton finds a harmonious, if at times melancholy, rapport with the natural elements that retain their grace in spite of the city's artificial environment. The city becomes a ghost town that the filmmaker transforms into a vehicle reflecting his personal mood.

Ripples uses images cut together to visualize the mind's eye of an architect as he considers his next project.

A group of cute meerkats painstakingly care for their beloved and unique fruit, but a vulture has a mind to disturb their peace of mind.

Vidal e a História de Portugal

5 shorts for kids, about the sky and stars

Likely in June 1897, 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.