The exit from the Lumière factory: this is how the title of the first film in history is translated into English. In other words, a milestone in the evolution of the human race through the works of the genius of its exponents. An invention, which is the result of a genial intuition, destined to revolutionize social life and forms of entertainment as well as capable of creating a story for images, initially silent and at most accompanied by some sporadic explanatory text, which in a few decades became an architrave of the existence of each individual. Who knows how much they were aware of all this Auguste and Louis Lumière at the time of the presentation of the film at the Société d’encouragement pour l’industrie nationale in Paris on 22 March 1895. It was, moreover, a work of only 46 seconds, but that would soon be translated into an incomparable instrument of a new language; a formidable means of communication. Consequently, the planetary success that many Lumière epigones would have had becomes incomparable, especially since the second half of the twentieth century thanks to the refined mind of the “pioneering brothers”. The paternity of the first public screening at the Salon Indien du Grand Café, on the Boulevard des Capucines in Paris, dated 28 December of the year 1895 must also be acknowledged. This is the date that coincides with the beginning of the cinema. The film cited, so to define it, consisted of a fixed frame on a large door that resumed the end of a work shift. Men and women, dressed in clothes of the period, or Belle Époque, came out of the framed building, still located on the outskirts of Lyon and renamed precisely for the event Hangar du Premier-Film. Three versions exist for this piece, each for a different season: autumn, spring, summer, shooting more or less at noon as the intense light that reflects on the heads of the characters reveals.
In 1896 the Lumière brothers brought the cinema around the world, including the United States of America. An absolute honor and a repeated statement with another famous title: L’arrivée d’un train en gare de la Ciotat. But in the face of so much genius, they committed a mistake in their assessment of the belief that their colossal invention had no future in the face of a probable growing disinterest of the people. On the basis of this erroneous evaluation, they decided to devote themselves to projects that were considered more long-term, leaving the evolution of the seventh art to other great directors. In essence they did not understand the attractive force of moving images.