Den Franske Kunstflyver Chevillard Paa Flyvepladsen

Rhythmic composition of moving photographs of cyclists in Amsterdam, ‘set’ to Vivaldi’s The Four Seasons.

Shurochka, the film’s hero, spends her life walking from one village to another in order to weigh tractors. Yet, this makes just one part of her existence. She dances to Utiosov’s songs, she smiles to the pictures of old Soviet actresses and shows a wonderful taste for life amidst the lonely provincial disorderliness.

This non-narrative short film examines one of the great American icons: the Louisville Slugger baseball bat. The film was conceived by its co-directors, Marlon Johnson and Dennis Scholl, along with the Louisville Orchestra's conductor, Teddy Abrams, to be screened set to a live performance by the orchestra of Claude Debussy's "Jeux".

A documentary about some of the comedians of the silent era featuring clips from their films and biographical information.

Registration of the city of Stockholm and its surroundings. Shots from a tram of various cityscapes: a park, brass band, shopping street, market, canals and boats.

A documentary about the cultural effect of film censorship, focusing on the tumultuous times of the teens and early 1920s in America.

A group of Macedonian women are shown hard at work.

Charles Dekeukeleire, then a questioning Catholic, was spurred into making this documentary on a pilgrimage with the Catholic Young Workers’ Movement. The director’s approach is one of critical reflection; A film emotional and fervent, even acerbic.

Chapter Two represents a continuation of daily observations from the environment of Manhattan compiled over a period from 1980-1981. This is the second part of an extended life's portrait of New York.

The Colegio de Arquitectos de Catalunya commissioned Pere Portabella to make this film for the Joan Miró retrospective exhibit in 1969. There were heated discussions on whether it would be prudent to screen the film during the exhibit. Portabella took the following stance: "either both films are screened or they don't screen any" and, finally, both Miro l'Altre and Aidez l'Espagne were shown. The film was made by combining newsreels and film material from the Spanish Civil War with prints by Miró from the series "Barcelona" (1939-1944). The film ends with the painter's "pochoir" known as Aidez l'Espagne.

"[Hutton’s] latest urban film, New York Portrait, Chapter III, takes on a unique tone in relation to Hutton’s ongoing exploration of rural landscape. The very fact that Hutton is dealing with older footage, with archives of memory more than immediacy, gives it a different texture than his earlier New York films. Hutton always found the presence of nature in the city, not only in his many shots of sky and vegetation, but also in the geometry and texture of the city itself, which seemed to project an independence from the human." (Tom Gunning)

Film historians, and survivors from the nearly 30-year struggle to bring sound to motion pictures take the audience from the early failed attempts by scientists and inventors, to the triumph of the talkies.

A documentary from Erkki Karu, one of the earliest pioneers of Finnish cinema: This government-produced propaganda film introduces the nature, sports, military, agriculture and capital of Finland.

In 1926, Buster Keaton was at the peak of his glory and wealth. By 1933, he had reached rock bottom. How, in the space of a few years, did this uncontested genius of silent films, go from the status of being a widely-worshipped star to an alcoholic and solitary fallen idol? With a spotlight on the 7 years during which his life changed, using extracts of Keaton’s films as magnifying mirrors, the documentary recounts the dramatic life of this creative genius and the Hollywood studios.

Life on the breadline in the 1930s was hard enough, but times were desperate when you fell beneath it. Hunger marches organised by the National Unemployed Workers' Movement drew attention to the cause, but this left-wing collective picked up a cine-camera. The fictional story at the heart of the film is somewhat melodramatic, but the authentic surroundings give its message realism and weight.

The Dangers of the Fly is an educational film made by Ernesto Gunche and Eduardo Martínez de la Pera, also responsible for Gaucho Nobility (1915), the biggest blockbuster of Argentinean silent cinema. De la Pera was a talented photographer, always willing to try new gadgets and techniques. This film experiments with microphotography in the style of Jean Comandon's films for Pathé and it is part of a series which included a film about mosquitoes and paludism and another one about cancer, which are considered lost. Flies were a popular subject of silent films and there are more than a dozen titles featuring them in the teens and early twenties.

A poetic journey through the paths and places of old Castile that were traveled and visited by the melancholic knight Don Quixote of La Mancha and his judicious squire Sancho Panza, the immortal characters of Miguel de Cervantes, which offers a candid depiction of rural life in Spain in the early 1930s and illustrates the first sentence of the first article of the Spanish Constitution of 1931, which proclaims that Spain is a democratic republic of workers of all kind.

An early silent film, made before intertites became common (which is why very early silent films are narrated, at best). This was filmed in 1907 but released in 1908. It was made at the request of Teddy Roosevelt, who saw coyotes being caught in Oklahoma *by hand*, and folks back east didn't believe him. While this movie is called "The Wolf Hunt", it was actually coyotes being caught, not wolves.

The world appears black on black until it separates from itself, looks at itself, includes itself, and sees colour.

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.