Brigitte Helm

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In a futuristic city sharply divided between the rich and the poor, the son of the city's mastermind meets a prophet who predicts the coming of a savior to mediate their differences.

Adapted from the novel L'Argent by Émile Zola, the film portrays the world of banking and the stock market in Paris in the 1920s.

As a gang of classy jewel thieves hop from one European country to another, an engineer rescues a woman from their clutches.

After she has abused the confidence of the young engineer Pierre Lavernay, the beautiful thief Olga, who has fallen in love with him, wants to break with her criminal past. Unfortunately, by the awkwardness of her former accomplices, Olga is extradited to the police and, sadly, her young lover turns back to Paris.

The new bride of a young Viennese is so demanding about her career that she lets him go on the honeymoon solo so she can do an engagement.Left on his own,he finds an unpretentious young lady who suits him better.

Mother of a young boy, Jackie, Véra Latour asks her husband, Pierre, a famous aviator, to stop performing stunts where he risks death for pleasure. Pierre reluctantly agrees, and it is his friend Bob Deschamps who wins a trophy during a meeting. However, Vera, who never wanted to experience her first flight with her husband, allows Bob to take her up in his plane. When Pierre finds out, he immediately sets off with his loyal mechanic Robert Nourry on a long flight across the Atlantic. After hours of anxiety, Vera learns that her husband has successfully reached New York. Upon his return, she welcomes him as a victor.

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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.

A case of espionage in high society: To save the reputation of his county, a diplomat voluntarily takes his own life.

Film journalist and critic Rüdiger Suchsland examines German cinema from 1933, when the Nazis came into power, until 1945, when the Third Reich collapsed. (A sequel to From Caligari to Hitler, 2015.)

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.

Neglected by her husband, an ambitious lawyer, Irene seeks variety in Berlin's nightlife-- An evening of dancing, dolls, cocaine and immoral passion. Irene takes the "devious path" as she seeks to make her husband jealous.

Because a sailor once told Pedro Savedra his wife, Marion, cheated on him, he left her. Learning later that it was nothing but a practical joke, Pedro decides to find her and win her back. He finally traces her in Palma de Mallorca, where she has become a cabaret singer. To set her free, he needs money and accepts a job. But Palesco, the nightclub owner, does not agree to let Marion go and will not shy about throwing a wrench in the gears.

During WWI a German agent receives an order to find out when the Russian army will carry out its expected attack against the German lines.

In a Hungarian gypsy encampment, carefree Sandor lives with his beautiful sweetheart Yutka. Into their lives rides a blonde countess, with whom Sandor becomes infatuated. Yutka soon flees from her faithless lover. Sandor roams the country, searching for his lost love, but finds her too late. she now wears furs and has her own aristocratic love. Sandor returns heartbroken to his Romany encampment.

This silent-screen classic, like many others produced near the end of the silent era, was both a theatrical extravaganza boasting an original orchestral score and an item which languished in obscurity for many years. When Carlo Piccardi took what was left of the score by Maurice Jaubert and re-created it, the existing footage was restored and paired with a new orchestral performance which was shown in Paris in 1988. The film's story concerns the travails of a woman who has been living quite comfortably as the mistress of a colonel in the Tsar's army in Russia. However, she eventually encounters a penniless young lieutenant and falls madly in love with him, as he does with her. Despite her best intentions of remaining with the colonel, and his intention to avoid trouble with his fellow soldiers, they cannot forswear this relationship, and tragedy is the inevitable result. The title refers to a moving incident in the story, and translates as "the wonderful lie of Nina Petrovna."

Sir Robert Chiltern is a successful Government minister, well-off and with a loving wife. All this is threatened when Mrs Cheveley appears in London with damning evidence of a past misdeed. Sir Robert turns for help to his friend Lord Goring, an apparently idle philanderer and the despair of his father. Goring knows the lady of old, and, for him, takes the whole thing pretty seriously.

The dramatic story of a military attaché, in a European embassy who will sign a fake check, in order to recover important secret documents that have been stolen from him.

The two aspiring actresses Jeanette and Mimi are waiting for their big chance. But the real breakthrough is slow in coming. Jeanette especially desperately needs a big success, since her friend, the journalist Stephan, is about to lose his job. When the two have their chance to take a ride in a posh car during a shooting, Jeanette slams on the throttle and the two friends take off. Their aimless journey takes them to a fashionable winter sports’ hotel, where Jeanette reserves a name under “The Countess of Monte Christo”. Everything’s going dandy; no one suspects a thing. That is, until two impostors, Rumowski and “The Baron” take residence in the same hotel.