Marie wants to escape from her job and also from her lover, Paul, an unemployed drunk. She dreams of going off with Jean, a dockworker. The two men quarrel and fight over Marie on two ... See full summary »
The business tycoon Nicolas Saccard is nearly ruined by his rival Gunderman, when he tries to raise capital for his company. To push up the price of his stock, Saccard plans a publicity ... See full summary »
Lot in Sodom is a sensual depiction of the Sodom and Gomorrah story filled with sinewy and semi-clad bodies, delirious bacchanales devoted to physical pleasure, and a searing, cataclysmic ... See full summary »
James Sibley Watson,
A European family who plan on escaping to Australia, seem caught up in their daily routine, only troubled by minor incidents. However, behind their apparent calm and repetitive existence, they are actually planning something sinister.
A couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to separate ways.
Psychological narrative avantgarde film about a wealthy young businessman who consecutively falls in love with a classy English woman (Pearl), a Russian sculptress (Athalia), and a naive ... See full summary »
During the younger times of this Germanic count, Damen Germaine Dulac was a complete fräulein of strong character and independent spirit (even though she was Frenchified); well, it is what we, the aristocrats, used to consider as "dangerous longhaired youngsters", because Damen Germaine Dulac had subversive and suspicious tendencies for the aristocracy, like being a specialist in Opera (and to make things worse, she liked it), a radical suffragist (those youngsters with revolutionary ideas), or theater and cinema critic (this last thing is the worst, MEIN GOTT!). With such curriculum and bizarre taste, it was inevitable that she started to get interested by avant-garde film and became an exponent of it.
"L'Invitation Au Voyage" was made some years before "La Coquille Et Le Clergyman" (1928), her most well-known film which also maximizes her restless cinematographic searches, a film that soon will be commented on by this Germanic count. In "L'Invitation Au Voyage", she maintains a transgressor spirit and her eagerness to get at what she considered the "pure cinema", even though the film is less risky and more accessible in its cinematographic proposals than "La Coquille Et Le Clergyman".
At the beginning of the film, the stylistic intentions are very well defined when the director says that she expects with her film "to expose her cinematographic idea without the help of explicative signs", so the image value gets hold of it on this film based on a Herr Baudelaire's poem. The movie shows us in a special and nonconformist aesthetic and technique way, the frustrations and unrealized dreams of its main character in a port establishment (a magnificent multicolour ambiance, a sea cabaret), her dreams as a livelihood for a false and dull life. The search of a chimera that even the main character is well aware of.
And now, if you allow me, I will leave you momentarily, because this Germanic Count has discovered, after a night of merrymaking in a port bar, that he has tattooed on his aristocratic arm an anchor!!!... a scandal that has to be fixed immediately.
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