Finally, the film comes to life when a train, a modern sleek one, passes on screen. Instead of stopping, as in the original, it simply speeds by. Instead of being peopled with citizens as in the original, here in modern times, the train station is abandoned. It makes a profound statement. The pieces continue, although they are all broken by modern color video of the making of the Lumieres.
Many pieces stand out.
A kiss between a young couple, who look like they have Downes Syndrome, recalls the beauty and the stillness of Andy Warhol's early film. This stillness seems prevalent in almost all of the films. Strangely, the films often have the participants look directly in the camera, as if recalling early silent films and our own home movies. The effect can be quite eerie as often as it can be humorous or quaint. Two of the films of the Asian filmmakers and one by a Spanish director are political, if others aren't indeed also.