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Passage of a Shintoist procession, whose members carry banners and lanterns, somewhere in Kyoto.

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.

Salamanca director Chema de la Peña recalls in this feature documentary professionals early filmmakers like Fernando Colomo, Fernando Trueba, Imanol Uribe, Carmen Maura and Antonio Resines, protagonists of the so called 'New Spanish Cinema' in the 80s. His first films were produced between friends, her back to the industry. Rolled with minimal budget and with the sole intention of having fun ... And big surprise were critical and box office successes. And also true generational manifestos.

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

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A long time ago, as a twenty-year-old young man, Grigory committed a terrible act, because of which his conscience torments him up to the present time. Today he lives far from big cities with his old mother, who wants to help her only son with all her might, but does not know how – and suffers a lot because of this.

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.