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The railway advertisement To Have A Good Trip Let’s Take The Train, had given me the idea of a speedy violent film with plenty of information, the intensity and speed of which cannot be perceived complacently by the spectator. All this gives an aggression to the film not unlike the actual transport system… the train was a pretext and I started to shoot as though I were using a gun-machine, trains and pseudo amusements becoming all mixed up.
Panorama of the Quai de la Seine and the pavilions of the exhibition.
Prudence Ledoux is 35 and unhappy with her life when she gets hit by a motorcycle. At the hospital, she meets Theo who provoked the accident.
The end of the Longchamp parade and departure of the President, filmed by the Lumière brothers.
Suddenly, Roman asks himself a first question, followed by a multitude of others that nobody can answer.
Follow brothers Marty and Rick Lagina through their effort to find the speculated - and as of yet undiscovered - buried treasure believed to have been concealed through extraordinary means on Oak Island.
A young boy who grew up inside a talking whale sets sail for magical Candied Island, accompanied by Capt. K'nuckles, a crusty old pirate.
In 1988, after much cunning political maneuvering, Loïk Le Floch-Prigent and Alfred Sirven become the chief executives at Elf. They discover a company that runs on kickbacks: in exchange for the oil rights, Elf makes handsome but discreet payoffs to the leaders of African nations. With the tacit complicity of President Mitterrand, and with eventual political and personal interests in mind, the new management takes charge of the slush fund. Within months, Sirven, Le Floch-Prigent and his wife Fatima Belaïd fill their pockets with more than they could ever have imagined.
Nymphs and cupids dance in celebration of the arrival of Spring.
A short film that showcases what LGBTQ+ migrants residing in Tijuana want to say to the world, as well as the human connection and healing process that can be found through dancing.
Details the early attempts, what worked, or why it didn't, in the history of adding partial or full colour to films. Includes early film clips to illustrate how most tries appeared to audiences.