Snowball Fight

A romantic couple are transformed into skeletons via X-Rays. The film combines two very recent innovations: Wilhelm Roentgen's discovery of X-rays in 1895, and Georges Méliès' accidental realisation of the special-effects potential of the jump-cut in 1896.

While his aide continuously turns the handle of the bellows, keeping hot a small furnace in front of him, a blacksmith is pounding a piece of metal on an anvil, then plunges the shaft into a tub of water, causing a cloud of vapor in the process.

Standup special filmed live at the Palace of Fine Arts in San Francisco.

In the foreground, smoke billows. Four horse-drawn fire wagons approach and pass in front of a stationary camera. Two horses draw each wagon, and each wagon carries from two to eight firefighters. After the wagons pass, carts and pedestrians resume traffic on the street.

Santa arrives at a house on Christmas Eve to deliver his presents for the children.

Chun-Li, Guile and Cammy must track down Juri, a new fighter who seeks to kill all other world warriors in a quest for ultimate power.

A man recognizes the thief who had previously robbed him as one of the men involved in an unrelated mob shootout.

Banned in the Soviet Union for its "negative" content and never released, Kalatozov was forced to retreat from filmmaking for seven years because of this film. The film sets out to illustrate the old adage, "For want of a nail, the battle was lost," showing how the inferior quality of something so trivial as a nail in a soldier's boot leads inexorably to the capture of an armored train. Kalatozov had intended to demonstrate the crucial and universal importance of efficiency in Soviet industry, but the government decided that his fable gave a negative impression of the Red Army's capabilities.

The film is a panorama shot-scene lasting just under a minute. The panorama film, as coined by Lumière, is a moving-camera shot--usually accomplished by placing the camera on a moving transport, such as a boat or train.

How a monkey became a man, and then a monkey again because of an addiction to a bottle.

This film was made in imitation of the more famous Louis Lumière film L'Arroseur Arrosé.

A director and his crew attempt to make the transition from the small to the big screen.