Paul Menant

A young woman loves a thief and follows him in all his bad tricks. Tired of this life, she leaves him the day she meets a young man with whom she falls in love. But she learns that he is a policeman and desperate, tries to commit suicide.

The adventures of a pompous jeweler who refuses to listen to the advice of his level-headed employees. In due time, the jeweler is robbed, but his sharp-eyed subordinate manages to prevent the villains from getting very far. Wising up in a hurry, the jeweler finally proves himself worthy of the love of the heroine.

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.

Adapted from a play by Romain Coolus, whose work Dulac had covered as a theater critic at the turn of the century, this atmospheric and socially inquisitive film tells the tale of an independent, sexually liberated woman (Eve Francis) who is torn between her husband (Gabriel Gabrio) and her lover (Paul Guide). Controversial at the time of its release, Antoinette Sabrier finds Dulac using her bold sense of visual rhythm to achieve a complex portrait of a woman trapped in an unhappy marriage and a nuanced investigation into human intimacy, with her characters’ emotions expressed through then-innovative cinematic techniques such as slow motion and associative montage.

This is a love story, a story of rivalry and revenge but, above all, a story about sport. The great passion is about union rugby.

Mailman Biscot decides to run the Tour de France bike race to impress a lovely swimming champion.

Poacher, bon vivant and womanizer, Maurin falls in love with the fiancée of a policeman. And despite all the principles, he easily triumphs over his rival.