Marie-Anne Malleville

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.

Carmencita Garcia, a Spanish flamenco dancer, performs two dances.

A woman enters a nightclub and slowly begins to open herself up.

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.

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.

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.