Cement

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.

In the dead of night a troubled youth from an East London estate, Ray Marsden stalks into a hospital ward demanding to see the patient. The attendant Nurse, Lynne McDermott is sceptical about Ray's motives but gradually uncovers the truth about his violent past and in so doing makes a startling discovery that will change both of their lives forever.

Twenty-year-old Eugène is somewhat aimless and has not been doing well in university. He is staying in a small village for the summer. He awkwardly seduces Pierre, a slightly older man who is working for Mathilde as caretaker for the season. Pierre is initially open to the relationship, but quickly becomes reluctant to become too involved.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

The Fountain of Bakhchisaray

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.

Lucia, pregnant with her first child, prepares herself to be a single mother

This is a sad tale of a noble lady who is entranced by an opera singer. Hoping to get closer to the singer, the lady takes up lessons with her. Despite their affection, they must face obstacles.

For love to travel for thousands of years, they will eventually meet.

A slow, hot summer afternoon. A father sleeps while his child is drawing with pencils in a cross word puzzle. A wind moves through the grass - something bad is about to happen.

A wife and a concubine seek freedom. In a game of seduction, together they join forces to defeat their oppressors.

A man at the end of his rope, gets carjacked by 2 addicts and goes on a surreal journey.

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).

Andrew 'Dew' Schofield has spent his entire life taking care of others; his children, his granddaughter, and even his wife after she got sick. Now that his kids are grown and his wife has passed, Dew finds himself living alone in his familiar little suburb, with only his memories. When his granddaughter comes to visit inbetween apartments, they will both face the deeprooted loneliness they've spent so long trying to bury.

On the night of their mother’s wake, three estranged sisters divide their childhood home over a pot of magic mushroom tea while a family secret boils to the surface. A story about the tenuousness of memory, buried trauma, food... and psychedelics.

Biscut is a powerful film on the state of politics in Uttar Pradesh and offers a gritty and hard-hitting take on the treatment of the backward classes and their never-ending exploitation in the caste-dominated political landscape of Uttar Pradesh.

A misunderstanding leads to sombre consequences as two flatmates recall very different turns of event from the previous night.

Mourning the death of his partner and collaborator Danièle Huillet, Straub finds tender mercy in music and nature. Out of the abyss, Kathleen Ferrier sings “The Farewell” from Gustav Mahler’s “The Song of the Earth”, (which the composer wrote in 1909 after the death of his daughter) and Heinrich Schütz’s Lament on the Death of His Wife. The landscape also provides solace: the mountain grove where Endymion pines for his beloved Artemis, “a wild thing, untouchable, mortal,” appears to embody the Japanese concept of ‘mono no aware’ — a wistful acceptance of the fleeting beauty of things.

As Alex struggles with disturbing hallucinations, his wife Vera tries to help, until they both experience their own profound revelations.

A nervous job candidate is forced to show much more than a positive attitude to save the life of her competitor.