Chien jouant à la balle (Francia/1905) R.: [Alice Guy]. D.: 1’
Les Farces de Toto Gâte-Sauce (Francia/1905) R.: Georges Hatot. D.: 4’
Ah! La barbe (Francia/1905) R.: Segundo de Chomón. D.: 2’
Le Raid Paris Monte Carlo en deux heures (Francia/1905) R.: Georges Méliès. D.: 9’
Une grande découverte (Francia/1905) D.: 4’
La Fée aux fleurs (Francia/1905) R.: Gaston Velle. D.: 1’

Audiences in the early years of cinematography consisted largely of women and children. When making films in this period, production companies made a conscious effort to target children. This is certainly one of the reasons why early cinema still appeals to many children today. Another is the incredible creativity and playfulness inherent in these films. Just look at the six films from 1905: in the first – probably made by Alice Guy, the world’s first female director – a dog and a man in a suit magically play with a big black ball – You immediately want to join in. In the second film, you want to team up with the cheeky boy who breaks all the rules and shows the grown-ups who is in charge of the world. In the third film, a mysterious man in a mirror makes funny faces. In the race from Paris to Monte Carlo that follows, directed by the great magician of early cinema George Méliès, we all want to get behind the wheel of one of the wondrous vehicles. Then there is a scientist who is cleverly pranked by a young boy. Yes, children rule the world, which unfortunately is not always as colourful as the final film with the flower fairy. But it’s only a matter of time before the kids change that too.

Karl Wratschko

Piano accompaniment by Daniele Furlati
With the live commentary of  Julie Linquette