Amor Pedestre

Each time Mrs Babylas sees an animal, she just can't help herself bring it back home.

A gangster falls for a blind violinist, only for his mobster rivals to kidnap her.

A small space crew has failed their mission of colonization. Trapped between the virtual and the physical, Adam longs for the mysterious Venus forest.

After reading a newspaper article regarding old Tightwad's rise in the world, Bill and Jim hit upon a plan to get some of Tightwad's easy money by holding young Tightwad for ransom. They accordingly hire a rig, take the boy and conceal him in a cave. The boy, instead of weeping and wailing for home and mother, proclaims himself "Red Chief" and makes it uncomfortable for his captors. (Moving Picture World)

Episode 11 of the series of 2-reel comedies “The Adventures and Emotions of Edgar Pomeroy”.

During the course of his flirtation a driver's cab is used by a notorious robber who deposits his evil gains underneath the seat of the cab. The girl proves to be a detective in search of this man and mistakes the cab driver for the criminal. The horse, however, saves his master and brings the real guilty man into the courtroom just in time

Dress shop owner Madame Maxine employs two chimps to serve in her establishment. It goes about as well as you would expect!

An ordinary day - so an eventful one - of Tom Katt, a young man who works as a drugstore owner's assistant: his - very acrobatic - bike ride to his place of work; the - fanciful - way he performs his job; the - ingenious - subterfuge he finds to help his employer, who has money problems; the - swift - way he escapes the cops chasing him...

A pretty female drummer charms the rural swains. She borrows money and makes away with it. The village belle then refuses to take back her old admirers and weds another.

The cinematic kiss is probably one of the most archetypical images to be found in film history. It is usually a reassuring and sometimes climactic element in a movie's storyline. Not in Nicolas Provost's 'Gravity' though: with stroboscopic effects, more than a dozen kissing scenes, most from stereotypical 1950s romantic dramas, are edited together and superimposed. Narrative is subverted as the kissing is isolated from its context entirely; the action slows down and flickers back and forth. Every now and then, shots from different films overlap and match; protagonists merge and diverge again a few seconds later. The sugary and dramatic soundtrack of romantic film music contrasts with the deconstructed images; together, they form a dazzling 6-minute vertigo where love becomes a passionate battle.