Lyon, France – On March 19, 1895, workers exiting the Lumière Factory in Lyon unknowingly became the stars of what is widely considered the world’s first motion picture. The 50-second film, known variously as Workers Leaving the Lumiere Factory, Employees Leaving the Lumiere Factory, or Exiting the Factory, captured a slice of everyday life that would forever change the landscape of visual storytelling.
The film, created by Auguste and Louis Lumière, French engineers and industrialists, wasn’t conceived as a grand artistic statement. Rather, it was a demonstration of their newly invented Cinématographe – a camera, printer and projector all in one. While Louis Le Prince’s 1888 Roundhay Garden Scene, a mere three seconds long, predates the Lumières’ work, the longer format and public demonstration of Exiting the Factory cemented its place in cinematic history.
Now, 131 years later, a new documentary, Lumière, Le Cinema!, is bringing the pioneering work of the Lumière brothers to a new generation. The film features over 100 newly restored Lumière shorts, curated and accompanied by narration from Thierry Frémaux, director of the Institut Lumière in Lyon and artistic director of the Cannes Film Festival.
Frémaux, speaking to Gold Derby, emphasized his dual role as both a historian and a spectator of early cinema. “I’m a historian of early cinema, but my first interest in the Lumière’s films is as a spectator,” he said. He noted the serendipitous location of his office, situated on the same street where the historic footage was captured. “Some sources list the filming date as March 22, but my scholarship places it three days earlier,” Frémaux clarified.
Lumière, Le Cinema! premiered at the Telluride Film Festival last year and debuted in New York at the Museum of Modern Art on March 20, 2026 – a day after the anniversary of the original filming. The film will subsequently screen in Los Angeles and other cities before becoming available on the Criterion Channel on May 1.
Frémaux reflected on the enduring power of the Lumières’ work, particularly the depiction of everyday people. “In the Lumière films, the people we see are not our ancestors… they are us,” he quoted Agnes Varda as saying in the documentary. He observed that the fascination with capturing movement, a key innovation of the Cinématographe, remains relevant today, pointing to the popularity of short-form video platforms like TikTok and Instagram Reels. “They had the same fascination for images and for people,” he said, while cautioning against equating the Lumières’ artistic intent with modern social media.
The documentary also highlights the tension inherent in early cinema – the choice between simply recording life and crafting a narrative. Frémaux explained that the Lumières quickly discovered the power of movement as a defining characteristic of the new medium, distinguishing it from photography and painting.
Frémaux also addressed concerns about the potential misuse of artificial intelligence to create fabricated versions of the Lumières’ films. He revealed that the Institut Lumière successfully sued an individual who used AI to colorize Lumière films without permission, emphasizing the importance of respecting the original artistic vision. “We can’t use AI to change a Vincent van Gogh painting or a Shakespeare play, and we have to teach new generations how to respect cinematic images,” he stated.
The Institut Lumière continues to work on restoring the remaining Lumière films, with approximately 500 already restored and 1500 still requiring attention. Frémaux indicated plans to launch a digital platform to make these films accessible to a global audience.
As the Cannes Film Festival approaches its 79th edition, Frémaux remains focused on preserving the legacy of cinema while embracing its future. He declined to reveal details about the upcoming lineup, scheduled to be announced on April 9, but spoke of his commitment to balancing historical awareness with contemporary artistic expression. He described his role as artistic director as a “golden prison,” acknowledging the immense responsibility of shaping the world’s most prestigious film event.
Frémaux pondered what the Lumière brothers might think of modern awards season, noting that their initial vision did not necessarily encompass cinema as an art form or the elaborate spectacle of events like the Cannes Film Festival and the Oscars. “It shows how important cinema has become in our lives and it’s important to protect it,” he said.
The documentary concludes with a contemporary reimagining of the original Exiting the Factory film, shot by Francis Ford Coppola and his son Roman Coppola using one of the Lumières’ original cameras, continuing a tradition of filmmakers paying homage to the pioneers of cinema.
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