1900

Solser en Hesse (English: Solser and Hesse) was a short Dutch silent film by M.H. Laddé and J.W. Merkelbach from 1900, featuring the comedians Lion Solser and Piet Hesse. the film was first distributed in the Netherlands by 'Edison's Ideal' in 1900, and second film starring the two men and under the same name was released in 1906 by 'The Royal Bioscope'. Both films are lost.

The Two Blind Men (French: Les deux aveugles) was a short silent film created and released in 1900 and directed by Georges Méliès.

Sherlock Holmes Baffled is a very short American silent film created in 1900 with cinematography by Arthur Marvin. It is the earliest known film to feature Arthur Conan Doyle's detective character Sherlock Holmes, albeit in a form unlike that of later screen incarnations. The inclusion of the character also makes it the first recorded detective film. In the film, a thief who can appear and disappear at will steals a sack of items from Sherlock Holmes. At each point, Holmes's attempts to thwart the intruder end in failure.

The One Man Band (French: L'Homme-Orchestre) is a 1900 French short silent film directed by Georges Méliès. It was released by Méliès's Star Film Company and is numbered 262–263 in its catalogs.

Let Me Dream Again is a 1900 British short silent drama film, directed by George Albert Smith, featuring a man dreaming about an attractive young woman and then waking up next to his wife. The film, according to Michael Brooke of BFI Screenonline, "is an excellent example of an early two-shot film, and is particularly interesting for the way it attempts a primitive dissolve by letting the first shot slip out of focus before cutting to the second shot, which starts off out of focus and gradually sharpens." The film was remade by Ferdinand Zecca for Pathé as Dream and Reality (1901).

Joan of Arc (French: Jeanne d'Arc) is a 1900 French silent film directed by Georges Méliès, based on the life of Joan of Arc.

How It Feels to Be Run Over is a one-minute British silent film, made in 1900, and directed by Cecil M. Hepworth. As in other instances of the very earliest films, the film presents the audience with the images of a shocking experience, without further narrative exposition.

Grandma's Reading Glass is a 1900 British short silent drama film, directed by George Albert Smith, featuring a young Willy who borrows a huge magnifying glass to focus on various objects, which was shot to demonstrate the new technique of close-up. The film, according to Michael Brooke of BFI Screenonline, "was one of the first films to cut between medium shot and point-of-view close-up.

Le Déshabillage impossible, released in the United States as Going to Bed Under Difficulties and in the United Kingdom as An Increasing Wardrobe, is a 1900 French short silent comedy film, directed by Georges Méliès. In the film, a man attempts to undress so he can go to sleep.

Explosion of a Motor Car (AKA: The Delights of Automobiling) is a 1900 British short black-and-white silent comedy film, directed by Cecil M. Hepworth, featuring an exploding automobile scattering the body parts of its driver and passenger. "One of the most memorable of early British trick films" according to Michael Brooke of BFI Screenonline, "was one of the first films to play with the laws of physics for comic effect." It features one of the earliest known uses in a British film of the stop trick technique discovered by French filmmaker Georges Méliès in 1896, and also includes one of the earliest film uses of comedy delay – later to be widely used as a convention in animated films – where objects take much longer to fall to the ground than they would do in reality. It is included in the BFI DVD Early Cinema: Primitives and Pioneers and a clip is featured in Paul Merton's interactive guide to early British silent comedy How They Laughed on the BFI website.

The Enchanted Drawing is a silent film best known for containing the first animated sequences recorded on standard picture film, directed in 1900 by J. Stuart Blackton, who is because of that considered the father of American animation.

The Beggar's Deceit is a 1900 British short film directed by Cecil Hepworth. The film is a comedy sketch shot from a static camera position, with the composition divided into thirds: on the left the beggar, in the centre the pavement and pedestrians, and to the right the road and vehicle traffic.

As Seen Through a Telescope (AKA: The Professor and His Field Glass) is a 1900 British short silent comedy film, directed by George Albert Smith, featuring an elderly gentleman getting a glimpse of a woman's ankle through a telescope. The three-shot comedy, according to Michael Brooke of BFI Screenonline, "uses a similar technique to that which G.A. Smith pioneered in Grandma's Reading Glass (1900)," and although, "the editing is unsophisticated, the film does at least show a very early example of how to make use of point-of-view close-ups in the context of a coherent narrative (which is this film's main advance on Grandma's Reading Glass)." "Smith's experiments with editing," Brooke concludes, "were ahead of most contemporary film-makers, and in retrospect it can clearly be seen that he was laying the foundations of film grammar as we now understand it."

Attack on a China Mission is a 1900 British short silent drama film, directed by James Williamson, showing some sailors coming to the rescue of the wife of a missionary killed by Boxers. The four-shot film, according to Michael Brooke of BFI Screenonline, was innovative in content and technique. It incorporated a reverse-angle cut and at least two dozen performers, whereas most dramatic films of the era consisted of single-figure casts and very few shots. Film historian John Barnes claims Attack on a China Mission had "the most fully developed narrative" of any English film up to that time."

Army Life; or, How Soldiers Are Made: Mounted Infantry is an 1900 British short black-and-white silent propaganda actuality film, directed by Robert W. Paul, featuring the King's Own Royal Lancaster Regiment riding over a plain. The film, which premiered on 18 September 1900 (1900-09-18) at the Alhambra Theatre in London, England, "is all that appears to remain of one of R.W. Paul's most ambitious projects," which, according to Micahael Brooke of BFI Screenonline, "had it survived in a more complete form," "would undoubtedly be considered one of the most important precursors of the modern documentary."