Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

Three women share their experience of navigating the app-world in the metro city. The sharings reveal gendered battles as platform workers and the tiresome reality of gig-workers' identities against the absent bosses, masked behind their apps. Filmed in the streets of New Delhi, the protagonists share about their door-to-door gigs, the surveillance at their workplaces and the absence of accountability in the urban landscape.

Documentary that shows the changing attitude towards immigrant labor in The Netherlands. The documentary follows three immigrants that arrived in Holland 30 years ago to work in a bakery.

Project 1 _ Hong Hyung-sook The children who are enthusiastically painting and cutting a doll. What stories will be told at the Square? - Project 10 _ Kim Jeong-geun The janitorial worker from the Busan Subway Station, Kim Young-ja talks about how she hopes to see a clean world, just like how she cleans everywhere in the subway.

The film explores the pursuit of the “Chinese Dream.” Driven by mesmerizing—and sometimes humorous—imagery, this observational documentary presents a contemporary vision of China that prioritizes productivity and innovation above all.

I have been pretty satisfied with my life before I got on the bus. When I do in June 2011, my whole life turns upside down. I am just a regular passenger at first. Like other people I was sorry, and felt obliged to help and care for other passengers. Then I begin to film these common heroes with my camera. Those who speak about hope, who provide it and get on the bus, Ms. Kim Jin-suk, and other crane laborers who risk their safety while demonstrating for their rights on high. She, while stationed insecurely on high, begins interacting with the world through Twitter and makes friends. Then I realize I really love her. Will we have her back safely?

Railroad of Hope consists of interviews and footage collected over three days by Ning Ying of migrant agricultural workers traveling from Sichuan in China's interior, to the Xinjiang Autonomous Region, China's northwest frontier.[1] Through informal interviews aboard the cramped rail cars, Ning Ying explores the hopes and dreams of the workers, many of whom have never left their homes before.

My parents were real estate developers and dealers in the 1980s. They achieved the ‘middle class dream’ thanks to the development boom. However, the Asian financial crisis swept everything away.

A documentary covering the 1988 Summer Olympic Games in Seoul.

A documentary that invites the viewer to immerse themselves in a intimate and thoughtful walk through Poblenou Cemetery in Barcelona, better know as "El Santet", to see what is happening at its surrounding areas and, especially, inside: work, buildings, people watching over those who are no longer here, cemetery workers... A trip through a space that is closer than we think.

María and Isabel are two women in their fifties who, like many others, recycle in Quito, where there is no recycling system. María leads a collective fight for basic labor rights; while Isabel transmits her knowledge of environmental care while she raises her daughters.

Journey with the musicians of the Berlin Philharmonic and their conductor Sir Simon Rattle on a breakneck concert tour of six metropolises across Asia: Beijing, Seoul, Shanghai, Hong Kong, Taipei and Tokyo. Their artistic triumph onstage belies a dynamic and dramatic life backstage. The orchestra is a closed society that observes its own laws and traditions, and in the words of one of its musicians is, “an island, a democratic microcosm – almost without precedent in the music world - whose social structure and cohesion is not only founded on a common love for music but also informed by competition, compulsion and the pressure to perform to a high pitch of excellence... .” Never before has the Berlin Philharmonic allowed such intimate and exclusive access into its private world.