Ετος 1897

A man has an encounter with several spooky apparitions in a castle that is evidently owned by the Devil.

A woman arrives home after the ball. Her servant helps her undress and bathe.

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.

A weary traveler stops at an inn along the way to get a good night's sleep, but his rest is interrupted by odd happenings when he gets to his room--beds vanishing and re-appearing, candles exploding, pants flying through the air and his shoes walking away by themselves.

A rocky sea voyage as reenacted by Georges Méliès.

[…] by shooting the fish in a globular bowl, the Lumières effectively use a fisheye lens, which offers distortions. The history of cinema has witnessed a struggle between the objective and subjective camera and the optically distorting lenses like the fisheye lens has been a powerful tool for the subjective camera. Here it is at the start.

Wintertime in Lyon. About a dozen people, men and women, are having a snowball fight in the middle of a tree-lined street. The cyclist coming along the road becomes the target of opportunity. He falls off his bicycle. He's not hurt, but he rides back the way he came, as the fight continues.

Two crooks throw a lady off a roof, and a hapless policeman tries to capture them.

A romantic couple are transformed into skeletons via X-Rays. The film combines two very recent innovations: Wilhelm Roentgen's discovery of X-rays in 1895, and Georges Méliès' accidental realisation of the special-effects potential of the jump-cut in 1896.

Women wash clothes in a washhouse on the edge of a river.

Angelic and demonic serpentine dance from dawn of cinema. Hand-colored frame by frame. Lumière no. 765 or 765.1 (colorized, different dancer?).

A maid is out walking with her young charge when a soldier takes the boy's place.

Swimmers jump into the water from the docks, as a small boat passes by.

The Flicker Alley DVD "Georges Méliès: Encore New Discoveries (1896-1911)" misidentified a partial hand-colored print of the 1906 film "Alchimiste Parafaragaramus ou La cornue infernale" (The Mysterious Retort) as this film, "L'hallucination de l'alchimiste" (An Hallucinated Alchemist) from 1897, which continues to be considered a lost film.

In front of a flour mill, two men fight. One is the miller, and he's swinging a bag of flour in the scuffle. The other is a chimney sweep, and he's swinging what may be a bag of flour, but when it breaks open, it's clearly something else. Well into the havoc, spectators gather and give chase to the flour-covered sweep and the "well-sooted" miller.

Along the seashore near San Francisco, a boat belonging to the Pacific Coast Life Saving Service can just be seen as it returns to shore. Several men are at the oars. As the boat approaches land, it must make its way through rough waves and surging water.

From Edison films catalog: A long line of horses, mules and ponies are led, driven and ridden into the yards, where they are sold and distributed.

George Albert Smith's remake of Georges Méliès - Le Manoir du diable (The Haunted Castle) from 1896. This film is lost or never existed. Copies of it online are actually a Méliès film.