A grandchild visits his grandparents.

A horse-drawn carriage stops in front of a villa. The residents greet the newcomers, as the coach driver unloads baggages.

Governor Thomas Lord Brassey and his entourage walk past, under the watchful eye of the police and the cheers of the crowd.

People dismount and mount a gondola. Not to be confused with Panorama of the Grand Canal Taken from a Boat.

Out at sea with boats passing by.

The first of Peter Tscherkassky's Cinemascope trilogy of short films is a fragmented glimpse of images pulsating with chaotic rhythm as they fight white margins for room in his palette. Mirrored frames being split by white margin and trying to reassemble again like the poles of a magnet, a train approaching station and colliding with itself in white-hot blistering chaos.

Matadors exiting carriages in Madrid.

A bunch of cyclists going past the camera.

A train arrives at Bel Air Station in Paris, France.

Tsar Nicholas II arrives in Paris.

The arrival of King Rama V, the king of Siam, in Switzerland.

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.