Linda, uma história horrível

A convicted criminal dreams about his past the night before his execution.

Watson’s avant-garde film is a unique example of dadaist aesthetics in early sound cinema. A minimalist and virtually expressionless acting style on a claustrophobic set characterizes the melodramatic love triangle. Watson considered the film a failure, though it appears extremely modern today, and suppressed its existence. - Jan-Christopher Horak

During a desultory night on the town, two men talk about their experiences with women. One of them disparages his ex-wife, while the other is enamored of the prostitute he was with earlier in the evening. Without realizing it, both men are talking about Janine.

Interpretation of Rita Mae Brown's groundbreaking lesbian coming-of-age novel Rubyfruit Jungle.

On an English farm, six reckless children play at being a fierce band of Apache warriors, unaware of the many dangers to which they are exposed. (Public information short film produced on behalf of the British Government to warn children living in rural areas about the risks of playing near farm machinery.)

Vera Blaine, a young woman in the deep South, is passionate and romantic. So, she's easy prey for José Dalmarez.

Two gang members send a threatening letter to a butcher, demanding money if he did not want his shop to be destroyed and his daughter Maria kidnapped. When he is unable to meet their request, they take Maria away. The Black Hand is the earliest surviving gangster film.

A six year old boy brings home a piece of schoolwork that provokes his parents to question his sexual orientation, and their own, with disastrous and hilarious results.

Husband comes home late and wakes the wife. Based on a popular stage play.

The scene is a railroad track on the side of a steep mountain, with a tunnel in the background, toward which a train is running at a high rate of speed. At this instant the audience is appalled at the sight of a second train rushing out of the tunnel. Both trains are on the same track and traveling toward each other at a high rate of speed. They collide. Cars and engines are smashed into fragments and thrown down the steep incline. (Edison Catalog)

A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production.

A barmaid plies a swell with smiles and with cherries from a box that's just been delivered. When she refuses a cherry to a roughly-dressed tradesman who runs a tab at the bar, he pays off his debt in a huff, using all his week's pay. He then storms penniless and without provisions into his ill-furnished house where his wife and two children, ill-clad and ill-fed, cower. Is there any hope for him and for his family? If he does realize how low he's sunk, what help is there to lift him up? Will the family ever know the taste of cherries?

A child borrows his grandmother's magnifying glass to look at a newspaper ad for Bovril, at a watch, and then at a bird. The child shows grandma what he is doing. The child looks next at grandma's eye, then at a kitten.

The first of Peter Tscherkassky's Cinemascope trilogy of short films is a fragmented glimpse of images pulsating with chaotic rhythm as they fight white margins for room in his palette. Mirrored frames being split by white margin and trying to reassemble again like the poles of a magnet, a train approaching station and colliding with itself in white-hot blistering chaos.

Firefighters ring for help, and here comes the ladder cart; they hitch a horse to it. A second horse-drawn truck joins the first, and they head down the street to a house fire. Inside a man sleeps, he awakes amidst flames and throws himself back on the bed. In comes a firefighter, hosing down the blaze. He carries out the victim, down a ladder to safety. Other firefighters enter the house to save belongings, and out comes one with a baby. The saved man rejoices, but it's not over yet.

The titles tell us this film is based on an incident in the Boxer Rebellion. A man tries to defend a woman and a large house against Chinese attackers. They attack with swords, guns, and paddles. He's over-matched. What will become of the mission, its defenders, and its occupants?

The Black Death is ravaging Spain. As Camille Saint-Saëns's "Danse Macabre" plays on the soundtrack, a mix of animation and acted scenes tells the story of Youth and Love meeting one night. They dance, embrace, and kiss. As the night wears on, exuberant Death, a skeletal figure with a violin, pursues the couple. They try to elude him. Eventually, Love swoons. Youth is powerless to protect her. Is she doomed?

A wealthy society playboy falls in love with the daughter of a poor fisherman. After Valentino shot to fame, A Society Sensation was cut down to a meek 24 minutes so the lead would be in every scene. Title cards tried to make up for the lost scenes.

Georges Méliès's first attempt at Cinderella was in 1899. That film was extraordinary then for having multiple scenes and a semblance of a narrative; additionally, the use of dissolves as transitions in it influenced other filmmakers for years to do the same. Méliès was the cinema world's preeminent leader then. By 1912, however, that was no longer the case; frankly, as evidenced by this feature, his style had become dated. Moreover, Méliès had begun to adopt techniques from other filmmakers, such as direct cuts instead of dissolves, and there's even a match on action shot during the slipper trying-on scene.

At the age of 14 Joris Ivens was fond of Cowboys and Indians stories, so he decided to invent one himself. He made a script and used a camera from his father's shop. This became his first film, Wigwam, with his own family as cast. Black Eagle, a bad Indian, kidnaps the daughter of a farmer's family. Flaming Arrow, played by the young director, saves the child from the kidnapper and brings her back to her family. No better conclusion than smoking a peace pipe. Although filmed in the spring of 1912, the film had a theatrical release in December 1915.