Dworzec

Kieslowski’s later film Dworzec (Station, 1980) portrays the atmosphere at Central Station in Warsaw after the rush hour.

L'arrivée d'un train à La Ciotat

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.

C'était un rendez-vous

A high-speed drive through the streets of Paris.

Vesuvius

You'll never look at a statue of the Virgin Mary the same way again. Based on the assertion that divine apparitions aren’t what they always appear to be, Vesuvius is an interesting take on the psychopath with Catholicism smacked against the background. Gio Alvarez provides a convincing portrayal of a madman, and people can even argue if this short inclines toward the supernatural or the psychological. Whereas Grave Torture uses darkness impeccably, Vesuvius plays with light so well.

Carne

After a dreadful incident coupled with an ungovernable paroxysm of violence, a butcher will fall into a downward spiral that will burn to the ground whatever dignity still remained in him.

The Pawnshop

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.

The Count

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…

Farmer Al Falfa's Ape Girl

The Farmer is abducted by a capering Jungle Goddess. As pre-Code as a Terrytoon ever got. Most animation is by Frank Moser; with him are Art Babbitt, Jerry Shields, Bill Tytla and others.

Chronos

Carefully picked scenes of nature and civilization are viewed at high speed using time-lapse cinematography in an effort to demonstrate the history of various regions.

Puff, the Magic Dragon

Jackie is a boy who is so trapped by his fears and doubts that he could not communicate with anyone. Then, a magic dragon named Puff comes to help Jackie by taking his soul force on a wonderous voyage to his island of Honah Lee. Along the way, they have adventures that nurture Jackie's imagination and courage in unorthodox ways.

Coral Reef Adventure

Coral Reef Adventure follows the real-life expedition of ocean explorers and underwater filmmakers Howard and Michele Hall. Using large-format cameras, the Halls guide us to the islands and sun-drenched waters of the South Pacific to document the health and beauty of coral reefs. Featuring songs written and recorded by Crosby, Stills & Nash.

Deep Sea 3D

Sea life in a whole new way. Deep Sea 3D, an underwater adventure from the filmmakers behind the successful IMAX® 3D film Into the Deep, transports audiences deep below the ocean surface. Through the magic of IMAX®; and IMAX 3D, moviegoers will swim with some of the planets most unique, dangerous and colorful creatures, and understand this inspiring underworld.

IMAX: Galapagos 3D

Retrace the groundbreaking footsteps of Charles Darwin with a young scientist as she explores the biological diversity and unique geologic history of the Galapagos archipelago. Using the magic of IMAX® and IMAX® 3D technology, plunge 3,000 feet into underground lava tubes, soar over the peaks of 5,000 foot volcanoes and encounter an abundance of marine life.

The Living Sea

The Living Sea celebrates the beauty and power of the ocean as it explores our relationship with this complex and fragile environment. Using beautiful images of unspoiled healthy waters, The Living Sea offers hope for recovery engendered by productive scientific efforts. Oceanographers studying humpback whales, jellyfish, and deep-sea life show us that the more we understand the ocean and its inhabitants, the more we will know how to protect them. The film also highlights the Central Pacific islands of Palau, one of the most spectacular underwater habitats in the world, to show the beauty and potential of a healthy ocean.

Tropical Rainforest

The story of the evolution of tropical rain forests, their recent and rapid destruction, and the intense efforts of scientists to understand them even as they disappear. This film gives viewers a better appreciation of the importance of tropical rain forests on a global scale.

Roundhay Garden Scene

The earliest surviving celluloid film, and believed to be the second moving picture ever created, was shot by Louis Aimé Augustin Le Prince using the LPCCP Type-1 MkII single-lens camera. It was taken in the garden of Oakwood Grange, the Whitley family house in Roundhay, Leeds, West Riding of Yorkshire (UK), possibly on 14 October 1888. The film shows Adolphe Le Prince (Le Prince's son), Mrs. Sarah Whitley (Le Prince's mother-in-law), Joseph Whitley, and Miss Harriet Hartley walking around in circles, laughing to themselves, and staying within the area framed by the camera. The Roundhay Garden Scene was recorded at 12 frames per second and runs for 2.11 seconds.

Le Chaudron infernal

A green-skinned demon places a woman and two courtiers into a flaming cauldron.

2/60: 48 Köpfe aus dem Szondi-Test

Kren's second film and the first he cut according to a strictly serial, sequence technique: in various frame sizes, the 48 portraits from the Szondi Test for "experimental diagnosis of human impulses" are shown in pre-specified lengths (between one and eight frames).

Film belge

Clouds

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to appear in the film are an aeroplane flying overhead and the side of a building, and these only as fleeting glimpses. The formless image of the sky and the repetition of the footage on a loop prevent any clear narrative development within the film. The minimal soundtrack consists of a sustained oscillating sine wave, consistently audible throughout the film without progression or climax. The work is shown as a projection and was not produced in an edition. The subject of the film can be said to be the material qualities of film itself: the grain, the light, the shadow and inconsistencies in the print.