Sparky Ketchup

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.

An associative linking of erotic and pornographically suggestive transformations, whereby the unity is preserved by placing the action in a frame.

An obsessive true crime fan is given the opportunity to write his own episode, but takes on more than he can handle.

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

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 king hides an embarrassing secret - and it causes him to execute every barber who cuts his hair.

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).

A comic allegory in which a runaway "city" on legs matches wits with a wily farmer. A farmer has an encounter with a runaway "city" (which devours its environs). He deserts his rural home for the imagined joys of urban life.

All kinds of people are waiting in seven different queues. The first person of each queue becomes the last of the next one, thus creating an enormous human line. But at the end of the line, it all begins backwards again.

In the schoolyard, Benoît loses a bet to his friends. His penalty: ask Aglaée, a disabled student, out on a date.

The encounter of an ex-couple that haven't seen each other in five years. His name is Andrés and he's a film director. Her name is Lucía and she's an actress. They confront their past in a real-time conversation: a mingling of what they remember, what their dreams were, and what never happened — not even in their dreams.

Maeve kills the vibe when she confronts her ex-boyfriend at a party.

Hairpin Double

Joe, one of the great coffee cup artists of his generation, has lived for years as New York's self-proclaimed Godfather of Coffee Cups. Now he faces a changing world that is forgetting the classics.

Heartbeat

A marching band of Germans, Italians, and Japanese march through the streets of swastika-motif Nutziland, serenading "Der Fuehrer's Face." Donald Duck, not living in the region by choice, struggles to make do with disgusting Nazi food rations and then with his day of toil at a Nazi artillery factory. After a nervous breakdown, Donald awakens to find that his experience was in fact a nightmare.

A first-time feature-film director (who's also the writer and producer) is casting the lead actress. We meet him talking to his wife about the picture and the process. We meet the actress, Sandy, negotiating with her roommate and talking by phone to her mother. Then, we watch Sandy audition for the director at the call-back session; also attending are the casting director and the production company's sycophants. The wrinkle is that the director is a homicidal misogynist, his wife is tied up and hanging from the ceiling, and Sandy has something in her purse that bodes a rocky future.

Well did you ever? Two women share juicy stories, and enjoyably shocked reaction, over tea.

Troy has resorted to speed dating, where he meets Cassandra, who uses tarot cards to skip the awkward get-to-know-you phase, only Cassandra's flirting turns into an ominous prophecy.

Erik is a solitary woodcutter. Kevin is the young conductor of the village's cycling brass band. Erik never goes out without his old mare. Kevin is keen on the clarinetist. The clarinetist is crazy about horses. But Erik doesn't know how to give. And Kevin doesn't know how to flirt. They will both need to learn.