Centre

Mr. Snookie steals an umbrella and then, while trying to help a woman to cross a puddle, the Tramp appears and intervenes.

This early Chaplin film has him playing a character quite different from the Tramp for which he would become famous. He is a rich, upper-class gentleman whose romance is endangered when his girlfriend oversees him being embraced by a maid. Chaplin's romantic interest in this film, Minta Durfee, was the wife of fellow Keystone actor, Roscoe "Fatty" Arbuckle.

Pierre and Jacques are working as waiters at a restaurant where the cooks go on strike. When the two are forced to work as bakers, the striking cooks put dynamite in the dough, with explosive results.

The Tramp interferes with the celebration of several kid auto races in Venice, California (Junior Vanderbilt Cup Race, January 10 and 11, 1914), standing himself in the way of the cameraman who is filming the event.

Although only a dental assistant, Charlie pretends to be the dentist. After receiving too much anesthesia, a patient can't stop laughing, so Charlie knocks him out with a club.

A tramp gets drunk in a hotel lobby and, upstairs, causes some misunderstandings between Mabel, two hotel guests across the hall from her room, and Mabel's visiting sweetheart.

Three men compete for the attentions of a pretty girl. One of them, a little tramp, plays dirty.

Charlie plays an actor who bungles several scenes and is kicked out. He returns convincingly dressed as a lady and charms the director, but Charlie never makes it into the film.

The hero, a janitor played by Chaplin, is fired from work for accidentally knocking his bucket of water out the window and onto his boss the chief banker (Tandy). Meanwhile, one of the junior managers (Dillon) is being threatened with exposure by his bookie for gambling debts unpaid. Thus the manager decides to steal from the company.

A womanizing city man meets Tillie in the country. When he sees that her father has a very large bankroll for his workers, he persuades her to elope with him.

19 remastered French short films from the 20's. After the horrors of the First World War, a sultry madness takes hold of the French society that no authority can stop. The clandestine cinema is commercialized at the back of specialized booksellers and whorehouses for very delighted customers, through short films. Costumed as priests and nuns, ballet dancers, satyrs, sparrow, apes, telegraph operator, in monk or in bellboy, never mind, everything is a pretext to describe love affairs which crudeness and humor have nothing to envy to the contemporary erotic cinema.

The second in Larry Gottheim's ELECTIVE AFFINITIES cycle, MOUCHES VOLANTES is, in the filmmaker's own words, "a celebration of elusive relationships" between sound and image, color and black-and-white, the moon and the waves, the aural testimony of Blind Willie Johnson's widow Angelina and the camera's illumination of a world simultaneously of and beyond the everyday. These lyrical fragments sweep in and out as with the tides; a time-based symmetry slowly emerges as the film reveals itself to be a perfect circle.

Darta, a man from an impoverished family, is rejected by the wealthy parents of the woman he loves. Desperate, he strikes a bargain with the Monkey King, performing a dark ritual to gain wealth. However, in doing so, he accidentally curses his wife and child to a life of suffering. Rooted in Indonesian mysticism, this universal narrative explores the insatiable hunger to become something one is not and the boundaries one is willing to cross to achieve it.

A cameraman wanders around with a camera slung over his shoulder, documenting urban life with dazzling inventiveness.

Faces pass by in quickly edited, split-screen recordings. A 'structuralist' film in which the film material itself plays an important role. Grain, scratches and flickering give the film texture. The music is by Steve Reich.

When Florette, a popular actress, and her friend Edith become rivals for the love of Walter Stanley, a leading man, Florette sacrifices her feelings for the other girl. Three years later, Phillip Rowland, a young aristocrat, falls in love with Florette. When Edith intrudes in her affairs, Florette--although she fears unhappiness will result because of their differing social positions--decides to marry Rowland regardless of the consequences. Rowland stands by his wife, although she is snubbed by his family, but when Edith conspires with Walter Stanley to place Florette in a compromising position, Judge Rowland accepts circumstantial evidence as truth and plans for a divorce. Florette, however, cleverly puts her brother-in-law on the defensive; making amends, he has her reinstated in the family's good graces. A lost film.

Glen and his friends are attending a co-ed school and are managing to have a very enjoyable time of it - in fact so much so - that Glen becomes engaged to one of the fair co-eds. His sister precedes him to the home town and breaks the news of his engagement to the family. In the meantime Glen and his sweetie enlist the aid of a rickety old flivver lo make the visit to the relatives. They have a tough time keeping the old car together and to further add to their difficulties, decide to adopt an orphan baby on the way home.

A dancing instructor gets involved with a newly rich family.

Sweethearts Jimmie Carter and Bessie Barnes work for Adolph Brock at the Acme Corporation. One day while he is out for a drive in his jalopy of a car, Jimmie spies a pretty young woman on horseback. He comes to her rescue after she falls off her horse and gets injured, he leading her to refuge in an abandoned cabin when it starts to rain heavily. Although she flirts with him, he, in turn attracted to her, wants to remain faithful to Bessie and resists his urges. When this woman mysteriously disappear on him, he can't stop thinking about her and follows her innuendo to meet with her at her apartment. All the while, he is unaware that she is Peggy Joyce, Brock's gold-digging fiancée. He is also unaware that Peggy has ulterior motives for coming on to him, which, in combination with her dangerous past, could lead to complications for all involved.

This, then, finishes eleven years of editing drawing on 30-some years of photography. I will surely work autobiographically again, but the modes of SINCERITY and DUPLICITY seem completed with this film which on the one hand is as simple in its integrity-of-light as those follow-the-ball "sing-along" early silent movies and on the other as complicated as teen-age metamorphosis. Childhood dissolves in flame, struck from the hearth.