Sortie 234 portrays Renaud's passion for Frank. A passion that reaches its bursting point. But between these two poles of attraction, there is Lucille, Frank's love. Lucille, whom Renaud tries to approach. Lucille who becomes the link between the two men. 'Sortie 234' constitutes a trajectory, beings both similar and different will try if not to join, at least to join and understand each other. You never know what can change your life.

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 failed actress sinks into neurosis and mythomania. To give relief to her dismal existence, she engages in all kinds of activities ranging from false testimony to occasional prostitution.

After the shocking discovery of an unconscious man in a locked unit, the lone employee of a remote storage facility must fight to survive the night against a ruthless gang, dead set on retrieving their precious cargo - at any cost.

Working men and women leave the Lumière factory, through the main gate. Three separate versions of this film exist, this is the second remake "no horse" version.

Workers leaving the Lumière factory.

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

简沛熏 （ 林依晨 饰）像大多数刚毕业的年轻人一样，海投简历，穿着正装踩着高跟参加各种面试，还没有见到面试官已经被告知落选。不是心比天高的理想青年，也没有超群“事业线”的简沛熏，只能投入男友阿泽 （ 简宏霖 饰）怀抱寻求慰藉，胡吃海喝一顿泼皮耍赖，却恰巧遇上男友征兵入伍，马上要分隔两地开始远距离恋爱。剧团的选角排演里，简沛熏竞选女一号又被导演指责“没有情感经验”。现实与梦想之间的差距，使简沛熏面临巨大的转型压力。这时，“钻石情人”李曜 （ 秦昊 饰）出现在简沛熏的面前。简沛熏不得不直面情感抉择。在经历一系列事业，爱情，友情的挫折与考验后，简沛熏最终得到成长和“蜕变” 。

Several fire-carriages, presumably heading to a fire.

A wedding party leave church in this Lumière brothers' short film.