Ladislaus Vajda

The rise and inevitable fall of an amoral but naive young woman whose insouciant eroticism inspires lust and violence in those around her.

A group of German infantrymen of the First World War live out their lives in the trenches of France. They find brief entertainment and relief in a village behind the lines, but primarily terror fills their lives as the attacks on and from the French army ebb and flow. One of the men, Karl, goes home on leave only to discover the degradation forced on his family by wartime poverty. He returns to the lines in time to face an enormous attack by French tanks.

In London at the turn of the century, underworld kingpin Mack the Knife marries Polly Peachum without the knowledge of her father, the equally enterprising 'king of the beggars'.

In the Crimea, the Reds and the Whites aren't done fighting, and Jeanne discovers that the man she loves is a Bolshevik (when he kills her father). Penniless, she returns to Paris where she works for her uncle. Soon after, her lover Andreas is in France to organize the sailors in Toulon. So also is a thief, traitor, and libertine, Khalibiev, who wants to seduce Jeanne. His schemes, Jeanne and Andreas's naivete, and a lost diamond bring the lovers to the brink of tragedy.

Dr. Johannes Krafft climbs a 12,000-foot mountain over and over again to search for his wife, who was lost on their honeymoon. Another couple makes the dangerous climb with him.

The French-language version of the The Threepenny Opera with a different cast from the German version.

Exposed to bad influences since childhood, Mary, a young girl is pushed by her mother to approach an elderly banker by the name of Harber. After almost driving her fiancee to suicide and seducing his mentally-ill son, she realizes through a metaphorical dream the scope of her negligence. Sentenced to prison for incitement to murder Harber, she sees herself as a parallel figure to Lea, Lot's wife in Sodom, where the Angel of the Lord warns the sinful citizens of the city of their impending doom. Lea oppresses the angel and eventually turns it over to the pagan priests when her sexual advances to it are rejected. In another dream sequence, Mary becomes the Queen of Syria, whose oppressed people turn against her and who, in turn, condemns a young man who loves her to death. Finally, her dream returns to the present time and when she awakens, she runs back to her former lover.

Two young officers, Saint-Avit and Morhange, get lost in the desert and find themselves prisoners of the beautiful Antinéa, queen of the city of Atlantis. Saint-Avit, blinded by his love for her, obeys her when she orders him to kill his comrade... With L’Atlantide, Pabst offers a psychoanalytic reading of Benoit’s novel, with a dominant female figure who enslaves her lovers before destroying them. The film’s fantasy dimension is disturbing, L’Atlantide bathes in a humid nightmare atmosphere, between the desperate search for a missing friend and the apparitions of an underworld lost in the desert. A long, discursive flashback suggests the Parisian origins of Antinéa, born from the marriage between Clémentine, a pretty, light-thighed French Cancan dancer, and an Arab prince seduced during a theatrical performance. But again, it's impossible to know whether these are the ramblings of an old alcoholic or the strange truth.