1896 film by Louis Lumière

A man, holding a baby up in his hands, is standing next to a fishbowl. The baby is trying, in vain, to catch a goldfish with her bare hands.

Outdoors, with a nondescript building in the background, four men stand, each holding the corner of a blanket stretched parallel to the ground. They wear the clothes of laborers. By the back corner on our left stands a uniformed man who seems in charge. A sixth man stands back from the blanket about six paces; he runs forward and takes a leap but stops at the edge of the blanket and is upbraided by the uniformed gent. The same thing happens a second time, but the next three times, he completes a flip, landing on his back in the middle of the blanket, and the four then boost him out toward the camera. The final time seems like it will be his last for awhile.

Pedestrian and horse-drawn vehicles traffic, across the Place des Cordeliers, in Lyon.

卢米埃尔兄弟记录1900年巴黎举办第三届世界博览会盛况。。。在现代世博会历史上1900年那届是一个标志性的历史开端。
One of the astonishing things about the works of the Lumiere brothers is not simply that they are among the first motion pictures, but that they are well-composed motion pictures.
Consider this picture of people on a moving sidewalk at the World's Fair of 1900 in Paris. Were some contemporary of the Lumieres to attempt this for the first time -- say, Edison's incompetent producer, James White, who did tackle the subject elsewhere -- this would be shot from straight on and on the level or slightly above, or perhaps from behind, so that we could see the backs of these peoples' hats -- a subject which seemed to fascinate Mr. White endlessly. Instead, Louis Lumiere placed his camera so that motion proceeded on the diagonal, from the upper left to the lower right, and slightly below eye level. Behold! Not only do you see the movement in this moving picture, you see the faces of the people in it and its setting in a fairly interesting triangular composition: people, buildings, movement. Even today many film makers seem to lack this elementary understanding of making good films.

A stationary camera looks west across Niagara Falls from the United States' side (the Niagara River rushes toward the falls from right to left). Virtually overlooking the falls and surrounded by the swift current not far from the camera is a small island where six or eight tourists watch the water, talk, and move about.

With a crowded arena in the background, a stationary camera records a bull charging a picador astride his horse. An attendant on foot throws stones at the rump of the horse to get it to move. Various toreadors run past the bull to try to get him to charge or at least run about.

Lyon : circulation des piétons, charrettes et tramways sur la place.

A skeleton dances joyously, often collapsing into a heap of bones and quickly putting itself back together.

1895 film by Louis Lumière

A trains arrives at Perrache station and people disembark.

Down the gangway, photographers leave the deck of a riverboat in large numbers.

1896 silent short film produced by the Lumière company

Three men are sitting around a table, two of them playing a game of Écarté. When the game is over, a domestic serves drinks.

Wintertime in Lyon. About a dozen people, men and women, are having a snowball fight in the middle of a tree-lined street. The cyclist coming along the road becomes the target of opportunity. He falls off his bicycle. He's not hurt, but he rides back the way he came, as the fight continues.

A short black and white film which documents the activities of a little girl and her cat.

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.