One of the greatest of black art pictures. The conjurer appears before the audience, with his head in its proper place. He then removes his head, and throwing it in the air, it appears on the table opposite another head, and both detached heads sing in unison. The conjurer then removes it a third time. You then see all three of his heads, which are exact duplicates, upon the table at one time, while the conjurer again stands before the audience with his head perfectly intact, singing in unison with the three heads upon the table. He closes the picture by bowing himself from the stage.

Georges Méliès makes a woman disappear, then reappear.

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.

In the background is a house. In the foreground, a groom holds the reins of a sleek black horse that stands in profile. A tall man, dressed in a black uniform, demonstrates how to mount the horse then encourages and tries to assist a man in white. The man in white keeps falling, and soon it's apparent that he's an putting on a show. His pratfalls become more elaborate and stylish. The horse stands patient. The little groom laughs to see such sport. And finally, the man in white finds a comic accommodation. The story, though brief, has a beginning, middle, and end.

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.

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.

1895 film by Louis Lumière

1895 French short black-and-white silent documentary film directed by Auguste and Louis Lumière

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

The Kiss in the Tunnel

A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised and looks into the nozzle to find out why the water has stopped coming. The boy then lifts his foot from the hose, whereby the water squirts up in the gardener's face. The gardener chases the boy, grips his ear and slaps him in his buttocks. The boy then runs away and the gardener continues his watering. Three separate versions of this film exist, this is the original, filmed by Louis Lumière.

1895 film directed by Louis Lumière