O dia do Trabalho

Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a pick. When the wall hits the ground, a cloud of white dust whirls up. Three workers continue the demolition of the wall with picks.

Documentary about a hostel for workers. An old worker suspected of stealing a motor gets fired from the factory and must leave the hostel.

A high-speed view of Paris via train-track; Zooming down the Seine by boat. Chomette's first film, Games of Reflections and Speed, traverses tunnels and elevated railways to produce a disarming rhythm.

Several little boys run along a pier, then jump into the ocean.

A man, holding a baby up in his hands, is standing next to a fishbowl. The baby is trying, in vain, to catch a goldfish with her bare hands.

While his aide continuously turns the handle of the bellows, keeping hot a small furnace in front of him, a blacksmith is pounding a piece of metal on an anvil, then plunges the shaft into a tub of water, causing a cloud of vapor in the process.

A young girl relates what happened during her first LSD trip, when – among other things – her food began talking to her.

At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton

A surreal journey of a displaced spirit as he wanders in the interminable darkness through the temporal landscape of a quaint and isolated feudal-era fishing village. Guided by a series of faintly illuminated rooms, the wandering spirit comes upon ancient souls who take on physical forms as they recount their personal stories of daily existence, loss, and tragedy in the peasant community. Intrigued by his initial visit to a curiously distracted elderly woman, the spirit returns to her home in order to ask a fundamental question - "What is happiness?" - an existential query that is innocently answered with innate humility and accepted unknowingness.

A soldier stands guard at a sentry box and leaves it unprotected for a moment, a moment that two men take advantage of to put up posters where it is prohibited.

On a winter's day, a woman stretches near a window then sits in a bathtub of water. She's happy. Her lover is nearby; there are close ups of her face, her pregnant belly, and his hands caressing her. She gives birth: we see the crowning of the baby's head, then the birth itself; we watch a pair of hands tie off and cut the umbilical cord. With the help of the attending hands, the mother expels the placenta. The infant, a baby girl, nurses. We return from time to time to the bath scene. By the end, dad's excited; mother and daughter rest. Preserved by the Academy Film Archive in 2013.

As the AIDS epidemic was spreading in 1987, the Swedish government commissioned Roy Andersson to make an educational film about the disease. In these twenty or so monotone scenes, Andersson criticizes the medical community for its dehumanizing and racist tendencies when researching HIV and AIDS.

Documentary short demonstrating the process of building a medium bomber for the United States Army Air Corps.

A documentary about the making of L'argent, the epic silent film directed by Marcel L'Herbier. The film shows the details of many of the more complicated moving camera shots.

Plan for Destruction is a 1943 American short propaganda film directed by Edward Cahn. It looks at the Geopolitik ideas of the ex-World War I professor, General Karl Haushofer, who is portrayed as the head of a huge organization for gathering information of strategic value and the mastermind behind Adolf Hitler's wars and plans to enslave the world. The film was nominated for an Academy Award for Best Documentary Short.

With the cameraman atop a moving train car the viewer is given a one minute glimpse of a French urban area.

This documentary is a compilation of silent black-and-white film footage shot by the Japanese in Hiroshima and Nagasaki shortly after the atomic bomb blasts in early August 1945. English-language voice-over narration has been added, along with a few scenes from American sources. The film shows the destruction and injury caused by the atomic bombs in graphic detail.

A film based on the pictures from Ingmar Bergman's personal photo album, especially the pictures of his mother Karin.

Experimental film fragment made with the Edison-Dickson-Heise experimental horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film.

Three friends are playing cards in a beer garden. One of them orders drinks. The waitress comes back with a bottle of wine and three glasses on a tray. The man serves his friends. They clink glasses and drink. Then the man asks for a newspaper. He reads a funny story in it and the three friends burst out laughing while the waitress merely smiles.