How Animated Cartoons Are Made

A film projectionist longs to be a detective, and puts his meagre skills to work when he is framed by a rival for stealing his girlfriend's father's pocketwatch.

Mr. Bean wins a trip to Cannes where he unwittingly separates a young boy from his father and must help the two reunite. On the way he discovers France, bicycling and true love, among other things.

Marcos, a prosthetic creator with a traumatic past, finds a corpse in his laboratory. While deciding what to do with the corpse he will have to juggle his strange family life, a zombie movie, the possibility of new love and creating the perfect prosthesis for a very special client.

We hear from Coppola, Spielberg, director of photography Gordon Willis, consulting restoration cinematographer Allen Daviau, film archivist Robert A. Harris, Paramount Post Production executive VP Martin Cohen, MPI senior technical advisor Daniel Rosen, MPI scanning technician Chris Gillaspie, senior digital artist Steven A. Sanchez, digital artist Valerie V. McMahon, and MPI technical director and senior colorist Jan Yarbrough as they offer interesting facts about the original cinematography, details on the restoration of the three films.

Is there an audience for Latin American movies? These are some of the questions posed by an Ecuadorian filmmaker whose latest movie was a commercial flop. He embarks on a query to find answers to his questions and relief for his despair. His research leads him to a giant contraband market in the port city of Guayaquil, where pirated movies from all over the world are sold for one dollar each. Here, he discovers a number of Ecuadorian low budget movies produced by amateurs, with titles he had never heard of before: from action packed productions to evangelical melodramas.

A group of Macedonian women are shown hard at work.

After many years as a vagabond, Ronald comes home to his family who are about to be evicted from their home. He saves their home and, while chasing a runaway pancake, saves a kidnapped girl as well.

A day in the city of Berlin, which experienced an industrial boom in the 1920s, and still provides an insight into the living and working conditions at that time. Germany had just recovered a little from the worst consequences of the First World War, the great economic crisis was still a few years away and Hitler was not yet an issue at the time.

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.

In this partially lost silent film, a man working as a motion picture extra in Hollywood westerns impresses a visiting sheikh with his boxing skills and is engaged to go to Arabia, where he becomes involved in warring and falls in love with a beautiful princess.

When the clock strikes twelve in a toy store a bunch of paint tubes come to life.

Two actors, Milton and Alan, must perform in a film for Alan's old friend, Hannah Behlgadar.

After amusements working in a restaurant, a waiter uses his lunch break to go roller skating.

A pawnbroker's assistant deals with his grumpy boss, his annoying co-worker and some eccentric customers as he flirts with the pawnbroker's daughter, until a perfidious crook with bad intentions arrives at the pawnshop.

A tailor's apprentice burns Count Broko's clothes while ironing them and the tailor fires him. Later, the tailor discovers a note explaining that the count cannot attend a dance party, so he dresses as such to take his place; but the apprentice has also gone to the mansion where the party is celebrated and bumps into the tailor in disguise…

An overview of the works of French film pioneers Louis and Auguste Lumière from 1895 to 1897.

A collection of five silent comedy shorts co-starring Roscoe "Fatty" Arbuckle and Buster Keaton, and produced by their own Comique Film Company: THE BELL BOY (1918), THE BUTCHER BOY (1917), OUT WEST (1918), MOONSHINE (1918), and THE HAYSEED (1919). Volume One of a two-volume DVD series from Kino Video. Musical score by the Alloy Orchestra.

This pioneering documentary film depicts the lives of the indigenous Inuit people of Canada's northern Quebec region. Although the production contains some fictional elements, it vividly shows how its resourceful subjects survive in such a harsh climate, revealing how they construct their igloo homes and find food by hunting and fishing. The film also captures the beautiful, if unforgiving, frozen landscape of the Great White North, far removed from conventional civilization.

In a local cafeteria, an unlikely trio of friends argue about how to rob the bank from across the street. It all changes when the waitress who serves them discovers their plans.

Len Lye scraped together enough funding and borrowed equipment to produce a two-minute short featuring his self-made monkey, singing and dancing to 'Peanut Vendor', a 1931 jazz hit for Red Nichols. The two foot high monkey had bolted, moveable joints and some 50 interchangeable mouths to convey the singing. To get the movements right, Lye filmed his new wife, Jane, a prize-winning rumba dancer.