Joker: Put on a Happy Face

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.

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On October 21, 1967, over 100,000 protestors gathered in Washington, D.C., for the Mobilization to End the War in Vietnam. It was the largest protest gathering yet, and it brought together a wide cross-section of liberals, radicals, hippies, and Yippies. Che Guevara had been killed in Bolivia only two weeks previously, and, for many, it was the transition from simply marching against the war, to taking direct action to try to stop the 'American war machine.' Norman Mailer wrote about the events in Armies of the Night. French filmmaker Chris Marker, leading a team of filmmakers, was also there.

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

Delphine Seyrig reads passages from a Valerie Solanas’s SCUM manifesto.

A portrait of the daily life of Zé de Sabino, a fisherman who works and lives in the breathtaking village of Regência, Espirito Santo (located near the Rio Doce, which suffered one of the greatest environmental tragedy in Brazil's history). The vastness of man is a place suspended in time, bordered by sky, land, river, and sea.

Florence is a contemplative study of light and shadows, textures and planes, that makes beautiful use of the tonal qualities of black and white film. (mubi.com)

The many lives of Henry Azadehdel, aka Armen Victorian, aka Henry X, as told by the peace activists, UFO researchers, botanists and everyday people who encountered him - whoever he was.

Elem Klimov's documentary ode to his wife, director Larisa Shepitko, who was killed in an auto wreck.

A day and night in the life of three alcoholic derelicts: "and the meek shall inherit the earth - six feet of it".

The British Royal Airforce's Red Arrows show off their skills.

Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.

African Adventure: Safari in the Okavango

Actor/cult icon Bruce Campbell examines the world of fan conventions and what makes a fan into a fanatic.

A portrait of Robert, a troubled but poetic soul struggling with his purgatorial existence in a hackney scrapyard.

Kryptonite

Like a Spiral is a dialogue between Beirut and five women, migrant domestic workers, under the Kafala system. Expressing their belonging to a society in collapse, the women's voices rise through the film's grainy images to denounce their stolen freedom with an inalienable thirst for existence. Their memories dance in the rhythm of oppression. Caught within life's spiral, they lift themselves up to not sink into oblivion.

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.

This thirty minute documentary features interviews with Giovinazzo's key contemporaries discussing the continued impact and influence of Combat Shock twenty-five years later.

The Tŝilhqot’in Nation is represented by six communities in the stunningly beautiful interior of British Columbia. Surrounded by mountains and rivers, the Tŝilhqot’in People have cared for this territory for millennia. With increasing external pressures from natural-resource extraction companies, the communities mobilized in the early 21st century to assert their rightful title to their lands. Following a decision by the Supreme Court of British Columbia in 2007 that only partially acknowledged their claim, the Tŝilhqot’in Nation’s plight was heard in the Supreme Court of Canada. In a historic decision in 2014, the country’s highest court ruled what the Tŝilhqot’in have long asserted: that they alone have full title to their homelands.