Броненосец Потёмкин

A man wanders out of the desert not knowing who he is. His brother finds him, and helps to pull his memory back of the life he led before he walked out on his family and disappeared four years earlier.

In 25 AD, Judah Ben-Hur, a Jew in ancient Judea, opposes the occupying Roman empire. Falsely accused by a Roman childhood friend-turned-overlord of trying to kill the Roman governor, he is put into slavery and his mother and sister are taken away as prisoners.

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.

With no clue how he came to be imprisoned, drugged and tortured for 15 years, a desperate man seeks revenge on his captors.

Sergei M. Eisenstein's docu-drama about the 1917 October Revolution in Russia. Made ten years after the events and edited in Eisenstein's 'Soviet Montage' style, it re-enacts in celebratory terms several key scenes from the revolution.

The true story of Henry Hill, a half-Irish, half-Sicilian Brooklyn kid who is adopted by neighbourhood gangsters at an early age and climbs the ranks of a Mafia family under the guidance of Jimmy Conway.

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.

Joe Ryan, a veteran train engineer, is demoted to a flagman position after a disastrous crash- one caused by his cowardly and opportunistic partner. Though Ryan's failing eyesight is named as the cause of the crash, he's undeterred as he designs an automatic braking invention.

In this realistic, unsentimental portrait of Germany’s dire economic situation, a middle-aged payroll clerk loses his job due to technological advances and, unable to find another, descends into despair. The film’s director, Marie Harder, was one of only a few women directors of the time and was also the head of the German Social Democratic Film Office. She made only two known films before her accidental death in exile in Mexico in 1936.

Set during the 16th-century Spanish occupation of Flanders, the story concentrates on the fiercely patriotic Mark Van Ryke (Colman). Donning the guise of "Leatherface," a swashbuckling masked avenger, Van Ryke performs his derring-do on behalf of the Prince of Orange (Nigel de Brulier). Naturally, Van Ruke considers beautiful Spanish aristocrat Donna Leonora de Vargas (Vilma Banky) to be a bitter enemy, and the feeling is mutual. To no one's surprise, however, Van Ryke and Donna Leonara eventually fall in love (hence the title). The pulse-pounding climax finds Van Ryke riding hell-for-leather through a rainstorm to warn the Flemish troops about the Spaniards' plans to burn the city of Ghent to the ground. Two Lovers was based on Madame Orczy's novel Leatherface, and adapted for the screen by Alice Duer Miller.

20 volunteers agree to take part in a seemingly well-paid experiment advertised by the university. It is supposed to be about aggressive behavior in an artificial prison situation. A journalist senses a story behind the ad and smuggles himself in among the test subjects. They are randomly divided into prisoners and guards. What seems like a game at the beginning soon turns into bloody seriousness.