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In Gossette (1923), Dulac experimented with and designed a number of special lenses and prisms to produce a variety of effects and multiply the expressive means which translate the characters' visions and mental states. She also reversed class and gender roles, as she made the female character Gossette come to the aid of Phillipe de Savières, falsely accused of murder, in order to save his name.
An unhappily married woman devises a scheme to get rid of her husband.
A Parisian museum director believes his wife is cheating on him and so places a poisoned cigarette in the box on his desk, thus allowing chance to decide the moment of his death.
Germaine Dulac shot a film in 1935 that she entitled “Le Cinéma au service de l’histoire” – a panoramic perspective on the history of Europe between 1895 and 1930 and an exhilarating archival montage
Brazen embrace of fashionable costume and glamour creates a witty celebration of Orientalism and cinema itself.
Desire brings out the worst in an actress' suitors-- One a well-to-do patron of London's theatre set, the other a lovestruck loner on the verge of penning a play dedicated to her.
The film’s visual structure is principally composed of variations on the arabesque: arcs of light, water spouts, spider webs, burgeoning trees, flowers and foliage, a woman’s smile, arms stretching, an arm giving rhythm to a rocking chair. It uses natural elements (light, mirrors, water, and wind) and photographic techniques (multiple exposures and lenses) to distort the various elements, or to intensify their design.
Coveted by two different men, a woman turns to a third man instead.
Carmencita Garcia, a Spanish flamenco dancer, performs two dances.
A woman enters a nightclub and slowly begins to open herself up.