5x7

Workers Leaving the Lumière Factory

1895 · ★ 6.7

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.

FIFA: A Love Letter to Rwanda

2023

Supermodel Adriana Lima presents a behind-the-scenes look at the FIFA congress in the Rwandan capital of Kigali in March 2023, which made Kigali the first-ever host city of a FIFA elective congress in Africa.

Night and Fog

1956 · ★ 8.3

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

Pubertät bei Jungen

1966

This animated short shows the development of boys up to and during puberty. It depicts the typical external changes that occur with the onset of sexual maturity, the structure and function of the sexual organs, sperm formation and pollination.

The Master of Apipucos

1959 · ★ 6.8

Documentary about influential Brazilian sociologist Gilberto Freyre, made in his country house in Apipucos, Pernambuco (Northeast Brazil).

Brasilia, Contradictions of a New City

1968 · ★ 7.7

In 1967, de Andrade was invited by the Italian company Olivetti to produce a documentary on the new Brazilian capital city of Brasília. Constructed during the latter half of the 1950s and founded in 1960, the city was part of an effort to populate Brazil’s vast interior region and was to be the embodiment of democratic urban planning, free from the class divisions and inequalities that characterize so many metropolises. Unsurprisingly, Brasília, Contradições de uma Cidade Nova (Brasília, Contradictions of a New City, 1968) revealed Brasília to be utopic only for the wealthy, replicating the same social problems present in every Brazilian city. (Senses of Cinema)

Riverboom

2024 · ★ 8.4

In the year following the 9/11 terrorist attacks, young journalist Claude Baechtold finds himself in the war zone of Afghanistan. Not entirely voluntarily, the avowed anti-militarist is dragged by two fearless reporters on a round trip through the entire country.

High Cities of Bone

2017 · ★ 6.3

Karlon, born in Pedreira dos Húngaros (a slum in the outskirts of Lisbon) and a pioneer of Cape Verdean creole rap, runs away from the housing project to which he had been relocated.

Traces: The Kabul Museum 1988

2003 · ★ 9

The Kabul National Museum, once known as the "face of Afghanistan," was destroyed in 1993. We filmed the most important cultural treasures of the still-intact museum in 1988: ancient Greco-Roman art and antiquitied of Hellenistic civilization, as well as Buddhist sculpture that was said to have mythology--the art of Gandhara, Bamiyan, and Shotorak among them. After the fall of the Democratic Republic of Afghanistan in 1992, some seventy percent of the contents of the museum was destroyed, stolen, or smuggled overseas to Japan and other countries. The movement to return these items is also touched upon. The footage in this video represents that only film documentation of the Kabul Museum ever made.

Dim.: How the Film Was Born

Documentary behind the making of the animated short film Dim.

Visions of Europe

2004 · ★ 5.2

Twenty-five films from twenty-five European countries by twenty-five European directors.

Children of Silence

1962 · ★ 7

This film looks at the world of children with hearing loss and the importance of early diagnosis. With its straightforward, rigorous cinematic style and intimate approach to the subject, the film focuses on the human rather than the technical side of the problem of hearing impairment.