The Cabbage-Patch Fairy (1900)

クリスマスに恋人ハーパーの実家に招待され、そこで彼女にプロポーズするつもりでいたアビー。だが実はハーパーは家族にカミングアウトしておらず、2人の関係も隠していることが判明し...。

女子高生のジュリーとカイラ、そしてサムの仲良し3人組は、卒業パーティーのプロムが開催される夜にヴァージンを捨てようと計画する。そんな娘たちの計画を知ってしまった親たち、ジュリーのお母さんリサと、カイラのお父さんミッチェル、そしてサムのお父さんであるハンターの3人組が一致団結、娘たちの処女喪失を阻止し貞操を守るため奮闘する。

An unexpected affair quickly escalates into a heart-stopping reality for two women whose passionate connection changes their lives forever.

The star of a team of teenage crime fighters falls for the alluring villainess she must bring to justice.

On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.

1952年の歳末、NYの高級百貨店でアルバイトをするテレーズは、クリスマスプレゼントを探しに店を訪れた優雅で上品な人妻キャロルと出会い、彼女に魅せられる。店に置き忘れた手袋をキャロルに送り届けたことから、彼女の知己を得たテレーズは、キャロルが夫ハージとの愛のない結婚生活に疲れ果て、いまや離婚協議中であること、そして娘の親権を彼に奪われそうになって苦しんでいることを知る。2人の距離は次第に縮まる。

Ava, 13, is spending the summer on the Atlantic coast when she learns that she will lose her sight sooner than expected. Her mother decides to act as if everything were normal so as to spend their best summer ever. Ava confronts the problem in her own way. She steals a big black dog that belongs to a young man on the run...

College student Danielle must cover her tracks when she unexpectedly runs into her sugar daddy at a shiva - with her parents, ex-girlfriend and family friends also in attendance.

ニューヨーク。現在17歳のダフネは、自由で愛を尊重する母リビーと2人暮らし。彼女は今まで明るく幸せな生活を送ってきたが、ただ1つ満たされない気持ちをずっと抱えている。それは、まだダフネが生まれる前に母と別れてしまった実の父親に会いたい、という切実な想いだった。彼の家族が上流階級に属しているせいで離ればなれになった父は今、ロンドンにいる。ある時、ダフネはとうとう意を決し、父のもとへ旅立った。そして、今では爵位を持ち、政治家として活躍する父ヘンリーと念願の対面を果たすダフネだったが…。

初めて“夏”のメインランド（人間の住む世界）を訪れた時、ティンカー・ベルは『妖精さん ようこそ』と書かれた札の書かれた“妖精の家”を見つける。“妖精の家”に入ったティンカー・ベルは、“妖精の家”を作った少女リジー・グリフィスに捕らえられてしまう。忙しくて相手をしてくれない父親に寂しさを感じていたリジーとティンクは次第に心を通わせていく。一方、妖精の仲間たちは、捕らえられたティンクの救助にやってくるが、今度はヴィディアがリジーの父親、グリフィス博士に捕まってしまう。

Maggie Peyton, the new owner of Number 53 - the free-wheelin' Volkswagen bug with a mind of its own - puts the car through its paces on the road to becoming a NASCAR competitor.

人間社会から孤立した女性のみの一族のプリンセスとして生まれたワンダーウーマンは、自分が育ってきた世界以外の環境を知らず、さらに男性を見たこともなかった。ある日、彼女は浜辺に不時着したパイロットと遭遇。彼を救出したことをきっかけに、ワンダーウーマンは身分を隠して人間社会で生活していくことにする。

ピクシー・ホロウのはずれに冬の森があると聞いたティンカー・ベルは、禁じられた境界線を越えて冬の森を訪れ、そこで自分にそっくりな冬の妖精ペリウィンクルと出会う。仲良くなった二人は、お互いの住む村や森に相手を誘うようになるのだが、そんな行動がピクシー・ホロウに重大な危機を招くことになるなど、まったく気がついていなかった。

15-year-old Mia faces an overwhelming transformation which puts her entire existence into question. Her body is changing radically, and despite desperate attempts to halt the process, Mia is soon forced to accept that nature is far more powerful than she is.

A feisty young woman returns to Glasgow to run her deceased father's curry house.

Georgia Rule follows a rebellious, uncontrollable teenager who is hauled off by her dysfunctional mother to spend the summer with her grandmother. Her journey will lead all three women to revelations of buried family secrets and an understanding that - regardless what happens - the ties that bind can never be broken.

小さな田舎町で暮らす少女アナは、幼い頃から重い消化器疾患を患い入退院を繰り返していた。母クリスティは遠方の大病院へ診察を頼み、やっとのことでアナは入院するも、治療の方法がなく自宅に戻る。一方、二人が留守にしていた間、夫や姉妹との間にも亀裂が生じていた。そんな中、アナが庭の大木から落ちてしまう事故が起こる。幸い一命を取りとめたが、彼女の身にある驚くべき“奇跡”が待ち受けていた。

When her nation is invaded, a young princess is taken into the Princess Protection Program. She is relocated to Louisiana, where she stays with a covert agent and his tomboyish daughter, and must learn how to behave like an ordinary teenager.

シカゴに住む建築家のサムは癌で妻を亡くし一人息子のジョナと共にシアトルに越してきたが、ジョナは、父親のために新しい奥さんが必要だと思いラジオ局の相談番組に電話をする。同じ頃、ボルチモアに住む新聞記者のアニーは、婚約者ウォルターを伴って実家のクリスマス・パーティに出席した帰途に偶然聞いた、そのラジオ番組で、サムが切々と語る亡き妻の思い出にアニーは思わず涙する。

Lina Esbrard performs a serpentine dance.

This picture depicts the eruption of the volcano by which over 30,000 souls were hurled into eternity. The numerous explosions which took place during the eruption are plain to be seen. Thousands upon thousands of tons of molten lava, sand, rocks and steam are thrown high in the air and descend with crushing force upon the unfortunate inhabitants of the doomed city of St. Pierre. This is the worst calamity which occurred since a similar eruption by Mt. Vesuvius when Pompeii was destroyed. (Lubin Catalog)

Lasting for roughly 50 seconds, it shows the goodbyes of many passersby - first Europeans, then Palestinian Arabs, then Palestinian Jews - as a train leaves Jerusalem.

Columbine resists Pierrette's courting in favour of Harlequin in this hand-coloured short by Alice Guy.

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.

Strong-man Eugene Sandow flexes his muscles and strikes a few poses in front of a black background. This was a short film shot by William K.L. Dickson and produced in Thomas Edison's Black Maria studio.

In very bad weather and a stormy sea, a small boat manned by two men is trying to leave the harbor of La Ciotat, while several people are watching them from the nearby pier.

It's early autumn and Dr. Headley eagerly demonstrates what seems to be a miraculous cure for tuberculosis. Not far from where he is working, the disease seems preparing to soon claim yet another life, a teenage girl named Winifred. Winifred's mother and little sister Trixie are devastated. When Trixie hears the family doctor say of Winifred that "when the last leaf falls, she will have passed away," she interprets the doctor's words literally. Thinking over what she has heard, she determines to do everything possible to save her sister.

A man, objecting to being filmed, comes closer and closer to the camera lens until his mouth is all we see. Then he opens wide and swallows camera and cinematographer. He steps back, chews, and grins.

Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a pick. When the wall hits the ground, a cloud of white dust whirls up. Three workers continue the demolition of the wall with picks.

A chemist carries out a bizarre experiment with his own head.

A father, a mother and a baby are sitting at a table, on a patio outside. Dad is feeding baby his lunch, while mum is serving tea.

The earliest surviving celluloid film, and believed second moving picture ever created, was shot by Louis Aimé Augustin Le Prince using the LPCCP Type-1 MkII single-lens camera. It was taken in the garden of Oakwood Grange, the Whitley family house in Roundhay, Leeds, West Riding of Yorkshire (UK), possibly on 14 October 1888. It shows Adolphe Le Prince (Le Prince's son), Mrs. Sarah Whitley (Le Prince's mother-in-law), Joseph Whitley and Miss Harriet Hartley walking around in circles, laughing to themselves and keeping within the area framed by the camera. The Roundhay Garden Scene was recorded at 12 frames per second and runs for 2.11 seconds.

1925年、9歳の少年・小豆子は、娼婦の母親に連れられ京劇養成所“喜福成”にやって来た。そこで彼は少年・小石頭と仲良くなる。やがてふたりは成長し、小豆子は女形に、小石頭は男役に決められ、それぞれ程蝶衣、段小樓と名乗り有名スターになっていく。1937年、中国と日本との戦いが深まる中で、段小樓は娼婦の菊仙と出会い結婚する。段小樓に思いを寄せていた程蝶衣は、2度と共演しないと言い放ち、彼のもとを去る。

Four grown wolves and a little one chase a sheep through the night. Little Wolf stops, captivated by the moon. He catches hold of it, and then the moon rises, with Little Wolf hanging on.

At the center are takes which do not change - a tree in a field in Vermont, U.S.A. Since the film was shot over a period of fifty days, the single frame shots create a storm of pictures.

Robert Breer’s What Goes Up... continues his “kitchen sink” approach of including as many different kinds of things as possible. Central to his art are a series of tensions. Rather than using animation to produce seamless illusions, his films reveal cinema’s dual nature as both an illusion of movement and a succession of stills. The ultimate effect of his work is ecstatic: by combining various rhythmic patterns, abstract and photographed shapes, and flatness mixed with depth illusions, Breer energizes ordinary eyesight. The whole world can seem more alive, alive with rhythms and colors and shapes and textures as well, after seeing one of his films. But Breer’s films also often have a theme of failure, of failed movements and failed aspirations, and the title What Goes Up..., in referencing the idiom “What goes up must come down”, refers to his childhood dreams of flying (illustrated here as in many of his films with airplanes) as well as to the limpness that follows orgasm for males.

A collage of two-dimensional images of vegetation, each appearing only for a moment, sometimes as a single image, more often with other bits of stem, leaf, bud, or petal. Often we see only the outline of objects against a black background. Black and green are occasionally joined by fragments of orange or of white and blue. The objects in the frame don't move but they are quickly replaced by another collage, giving the feel of rapid motion. Each collage is crisp, its lines etched against the background of black and later of white. Whitman anyone, or Hieronymus Bosch? Although there is no soundtrack, the rapidity of changing images and colors suggests a riot.

A man visits the zoo

While birds can be heard singing a shrill song, lines crisscross wildly as if they aimed to form shapes. Their efforts seem hopeless until the very end ,,,