People dismount and mount a gondola.

A trains arrives at Perrache station and people disembark.

A grandchild visits his grandparents.

A train arrives at the station.

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

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.

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.

Matadors exiting carriages in Madrid.

Out at sea with boats passing by.

A train arrives in Cologne Central Station and employees and travellers are seen on the platform.