Workers leaving the Lumière factory.

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.

《走出工厂》（Sortis d'usine）由赫维·勒鲁（Hervé Le Roux）执导，法国出品，1999年上映，片长30分钟，采用35毫米胶片拍摄。罗伯特（Robert）在雷诺工厂（usine Renault）工作了17年，安德烈（André）、扬（Jan）和斯坦（Stan）工作了超过20年。他们虽入职时间相隔六年，但经历了相同的遭遇，如工厂的重组和大规模裁员。《走出工厂》是一部关于当下欧洲资本与劳动关系的影片。

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

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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.

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

This feature-length documentary offers a glimpse at the unknown world that lies beneath the Arctic ice. Arctic IV follows Dr. Joseph MacInnis, a specialist in underwater medicine, as he probes and explores the polar depth. Filmed at Resolute Bay, Dr. MacInnis and his team must chip through 2 metres of ice and dive into the frigid, watery depth at the North Pole - all in the name of science.