Lilian Constantini

Two young people, during a hike on the C te d'Azur, meet a woman of great beauty whose driver has a sinister appearance. They find her in a castle. In reality it is a lunatic asylum whose head doctor has lost his mind. notes: Lilian Constantini protested after the presentation of the film, on the way it had been sounded. Indeed, the voice that had been lent to him had had the gift of bringing joy to the public.

Popolka takes advantage of the absence of his shrew of a wife to indulge in the delights of single life. His manager showers him with favors because he is in love with a young woman whom he believes to be Popolka's wife. When Madame Popolka returns, the situation becomes confused...

Spy drama about a young dancer from a poor background in Poland who is forced by a baron to spy for him.

Popular songs accompany two scenes of happiness: a jovial railway worker and a group of children dancing.

A destitute, drunk woman appears to yearn for the life of a streetwalker.

This is the romanticized story of Louise de Bettignies, who was a spy and heroin of the First World War. In October 1914, in Roubaix, Geneviève de Vandeville delivers mail in secret. Brilliant and effective, she is soon contacted by the Intelligence Service who asks her to lead a team of spies. Geneviève, who is responsible for delivering intelligence from dangerous regions, enlists the help of Maria, a young girl who becomes her friend. Maria and her lover ask Geneviève to plan their escape into Holland. This mission will prove fatal for Geneviève. She is detected by the German counterespionage, arrested, and imprisoned in Brussels. She becomes sick and dies in prison before the war ends. Some time later, Maria and her lover pay their respects to the monument in effigy of Louise de Bettignies.

I evoke a dancing woman. A woman? No. A bouncing line with harmonious rhythm. I evoke a luminous projection on veils ! Precise matter! No. Fluid rhythms. Why should one disregard, on screen, the pleasure that movement brings us in the theatre? Harmony of lines. Harmony of light. Lines, surfaces, volumes evolving directly, without the artifice of evocation, in the logic of its forms, dispossessed of any overly human sense, allowing an elevation towards the abstract, thus giving more space to sensations and to dreams : integral cinema. —Germaine Dulac