Waldemar Wohlström

The life story of Aleksis Kivi, author of the first Finnish novel in Finnish language and (posthumously) its most successful writer.

In northern Finland in the fall of 1916, Saima Niva rescues a man drifting in the river, who turns out to be a German lieutenant Braun. Braun and his six comrades have managed to escape the prisoner of war at the Muurmann railway station, but the lieutenant has had to get rid of the lost group. While Braun is recovering, under the good care of Saima, Niva's neighbor and henchman of the gendarmes, the greedy policeman Simpura, gets a tip about the refugees camped in the desert.

Polyteekkarifilmi (Polytekarfilmen) is a Finnish silent documentary film dating from 1924. The subtitle of the documentary is "The story of sport, polytheists and the gods of Olympia". The film aimed to raise travel funds for Finnish athletes traveling to the Paris Olympics.

The film tells the story of a wandering barrel organ player's daily, tragic life in the back streets of the Finnish cities.

Without knowing about each other, bachelors Salomon, Arvi, and Martti each hire a domestic helper for their shared apartment. The job goes to the energetic professional Manta and the modern young women Helvi and Aili, who are looking for a position to prove their point about the issue of domestic service.

A man stays with a fisherman and his adult daughter in coastal Finland, develops feelings for the daughter and begins to uncover a terrible secret haunting the family.

Anni, the daughter of the Heikkilä family, is forced by her father to give up her plans to marry her beloved farmhand, Matti Väliportti. Anni's life becomes a struggle when her father's choice of husband for her, Toivo Erkkilä, turns out to be a violent alcoholic.

At the end of the middle ages, Ursula is accused of having poisoned her own husband. She claims she is innocent, but to prove it, she must submit to a ritual: trial by fire, walking on fire along a path leading directly to a crucifix. A film that has been much commended for the visual creativity shown by the director in successive blending in of images involving Ursula, her husband, the Virgin Mary, and Jesus Christ. Much applauded, also: the performance of Jenny Hasselqvist, thus described by French director René Clair: “We shall never forget her flaming eyes, the severity of her spirit, her abrupt and alarmed expressions, like an animal under threat.”