Mario Nasthasio

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.

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The story takes place in Corsica, where a young business woman (Jacqueline Forzane) tries to construct an electric system for her steel plant. But this project is not welcomed by everyone...

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The story is about a superstitious village, where the mayor has sold a tower to an unknown, who is soon suspected of being the devil.

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Jean Gourguet's 1928 49-minute silent feels like a French precursor to Siodmak's 1930 "Menschen am Sonntag". It shows us how Parisians of the 1920s spent their Sundays, by following the progress of four young people on their day off - a girl, her beau, and his two rivals. The film is at turns comic, wistful and romantic.

The frenetic pace of the edit was intended to match the action, based on Article 635 of the French criminal code stipulating that after 20 years on the run, a penal colony escapee can regain his freedom if he evades capture by the police.

A foundling is left in front of the home of a rich aristocratic bachelor during the Nice carnival. The marquis adopts the child but soon finds that he cannot cope, so he employs a nanny who turns out to be the child's real mother. Just as the two have fallen in love and there is a happy ending in sight, the woman's husband - long thought dead - turns up.

An earlier version of the 18th century swashbuckling story later made as a vehicle for Gerard Philipe, this one is in serial format.

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