Cinema Inocente

A mockumentary about four people and their idiosyncratic ways of saving the planet.

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

Documentary on movie special effects.

It is the story of an old man - Gulam - and the cherry tree which grew in his garden. As the story opens, the village children consider Gulam their best friend. But as the war wears on, Gulam directs his kindness and affection to his cherry tree, shielding the tree from the children who are starving. In the process, Gulam becomes very aggressive and eventually is seen as the enemy of the children. The movie shows how war can destory even the most tender and gentle feelings, as well as the most basic moral values of being human.

A still, highly overexposed shot of a car bridge and the river below. A cinematic haiku by Chris Marker.

A cinematic haiku by Chris Marker.

An overview of Osborn manufacturing equipment, in particular their load runners in utility plants and factory environments.

A short film which has its emphasis on back street walls with peeling posters and the constant pedestrian traffic in the foreground. It has a static camera positioned in front of the walls; experimental editing techniques, no dialogue-just background music, and quick edits of blackness throughout.

Shows a market where puppies are bought and sold. Several puppies are placed in a cloth bag, and they struggle to break free. One bites through the bag, pokes his head, and is observed in his triumph and then confusion.

What does it mean to be goth—to be an outsider, to live both on the margins and in the midst of society? Filmmakers Jordan Hemingway and Alban Adam prize open the coffin on a world of darkness and light, exploring its multiplicities and intersections with subcultures and the ever-present experience of queerness.