The first film of cinematographic history shows workers leaving a factory. The title of this work which is 50 seconds long and bequeathed to us by the Lumière brothers is La Sortie des Ouvriers de l'Usine. There are three known versions of the work. In the hardware and software of the cinematographic 'machine' resides much of the specifically mechanical charm of the industrial age. In one sense it is a paradox that the Lumières began film history with workers leaving the factory instead of giving place of honour to them working on the production lines. Over a hundred years later Siegfried A. Fruhauf has made a fourth version of La Sortie des Ouvriers de l'Usine. This remake gives short shrift to the unconscious irony of the Lumière films. Fruhauf needs six minutes to run through the current fate of industry. Fourteen workers are present here - five on the (optically) vertical axis, the rest cross the horizontal axis in the background. Their movements form a cross - a symbol of death as a ballet méchanique. The initial image is transformed into almost abstract black and white surfaces, harnessed, Sisyphus-like, to a lunatic dance of repetition. Fruhauf increases the acceleration of the striding workers in discrete steps until they are tearing along - the capacity of the film tested to its outer limits - until it can't take any more. Maximum acceleration leads to stasis - after the acceleration throughout the film comes the logical consequence - the last frame - the freeze frame. Nothing more can happen. The model (literally) of progress collapses. And instead the is paralysis. A dead end. The workers are motionless, and with them the factory. Rien ne va plus.

The first film of cinematographic history shows workers leaving a factory. The title of this work which is 50 seconds long and bequeathed to us by the Lumière brothers is La Sortie des Ouvriers de l'Usine. There are three known versions of the work. In the hardware and software of the cinematographic 'machine' resides much of the specifically mechanical charm of the industrial age. In one sense it is a paradox that the Lumières began film history with workers leaving the factory instead of giving place of honour to them working on the production lines. Over a hundred years later Siegfried A. Fruhauf has made a fourth version of La Sortie des Ouvriers de l'Usine. This remake gives short shrift to the unconscious irony of the Lumière films. Fruhauf needs six minutes to run through the current fate of industry. Fourteen workers are present here - five on the (optically) vertical axis, the rest cross the horizontal axis in the background. Their movements form a cross - a symbol of death as a ballet méchanique. The initial image is transformed into almost abstract black and white surfaces, harnessed, Sisyphus-like, to a lunatic dance of repetition. Fruhauf increases the acceleration of the striding workers in discrete steps until they are tearing along - the capacity of the film tested to its outer limits - until it can't take any more. Maximum acceleration leads to stasis - after the acceleration throughout the film comes the logical consequence - the last frame - the freeze frame. Nothing more can happen. The model (literally) of progress collapses. And instead the is paralysis. A dead end. The workers are motionless, and with them the factory. Rien ne va plus.

A staging of Jean Barbier's play "Ma femme est sortie" by Jean-Pierre Dravel et Olivier Macé.

When the silent cinema learned to speak, the audience was surprised not only by the voices of the actors and the sound effects, but also by a new element, the music, which, combined with the dance and an unprejudiced imagination, gave rise to a new genre, as important to Hollywood cinema as the western was: the musical. A journey through the history of this genre, from its beginnings to the present day.

The French team —on home soil— was always going to be in contention for the title of World Champion. It did not disappoint its fans. France '98 was not short on drama or controversy, in equal measure and this is captured most effectively on this film. The 1998 film was shot on Super 16 mm film and includes the most complete and extensive coverage ever, with each match being filmed from more angles than any previous film.

Bogotá, 1980. During the government of President Turbay. An urban cell of the M-19 invades the Embassy of the Dominican Republic, taking 14 ambassadors as hostages. They demand that they be exchanged for political prisoners. The film focuses on the events that took place during those two months of captivity.

Bogotá, 1980. During the government of President Turbay. An urban cell of the M-19 invades the Embassy of the Dominican Republic, taking 14 ambassadors as hostages. They demand that they be exchanged for political prisoners. The film focuses on the events that took place during those two months of captivity.

Elías, wounded and lost in the mist, rows back to his island only to find that the flood has washed away everything and his home lies lonely. He will try to change but this is not enough for the water to wash his blood.

One of the most screwball TV shows of Spain.