Paris, December 28, 1895

Antoine Gustave Marasco was anxious when he took the way to the Boulevard des Capucines heading to the Grand Cafe. Before that, however, he became the first spectator of a commercial movie screening. The magic came by by the hands of two brothers that already had a name filled with light, the Lumière, sons of Antoine, who always warned his sons that that was an invention with no future. Quite the contrary. Cinema invented the future; Men could finally be eternal and multiplied in a screen.

So much magic wouldn't pass unnoticed by the illusionist Melies. The show had to go on! And the magician made the machine dream. It is necessary to use the camera as an instrument of poetry, says Orson Welles, after all, adds Bunuel, cinema is the best instrument to express the world of dreams. A truth 24 times a second, Goddard adds. No, a lie 24 times a second, replies Fassbinder. It doesn't really matter if it's true or lie, it's the written language of reality, says Pasolini. All it takes is a camera in the hand and an idea on the head, according to Glauber. What is really important is the art of sculpting time, Tarkovsky reflects; cinema does not change matter, says Pudovkin, it changes time and space. It's the music of space, says Jancso. Cinema is the junction of all the arts in one, Jean Renoir adds. To Hitchcock, basically it's chairs with spectators glued in them. Dream, reality, cinema is a waterfall, says Humberto Mauro. It's water that slide guided by human hands who command their paths. It's a plan that stays, image that lasts, poetry felt, follows Manoel de Oliveira. It's a dream we can't erase, Menezes adds... And while the Ship Sails On, through the 21st Century, Fellini does not doubt that cinema is the straightest way to compete with God.