After the Storm 1941

René Sabin, engineer, disappointed by failures, leaves his village in the South to go to Paris with friends. In the capital, he befriends dubious people, in particular Alex Krakow who does not disdain shady business. Then comes the war. René is mobilized then returns to the country, and finds with joy his fiancée.

The Duraton Family 1940

Unbeknownst to the members of a French family, a radio announcer makes them the subject of a broadcast.

Hercule 1938

Hercule, a young peasant, inherits a Parisian newspaper with a large circulation. The editor-in-chief, Vasco, takes advantage of his ignorance to make corruption prevail. But Hercules gradually realizes the role that we make him play.

Skylark 1934

Adémaï is forcibly engaged to the farmer's daughter. He tries in vain to get rid of it and, weary of the struggle, flees in a plane with his comrade Michelet whom he believes to be an instructor. For three days and three nights, the unfortunates turn in a closed circuit, thus beating the world record.

Étienne 1933

Étienne, a very sensitive being, watches helplessly as his mother suffers from his father's infidelities. He tries to seduce his father's next conquest without his knowledge.

The Yellow Dog 1932

Maigret investigates in Concarneau where the passage of a yellow dog accompanies a series of murders, sowing terror in the population. The police seem helpless. It must be said that it has no significant evidence.

The Road Is Fine 1929

The Beautiful Woman Without Mercy 1921

"Taking its title from John Keats’s early 19th-century poem, this highly personal melodrama finds Dulac interrogating the archetype of the femme fatale. La belle dame sans merci follows a famous actress who was once seduced and abandoned by a rich man and subsequently resolved to become a “merciless woman,” forever scheming to hurt others (men in particular) in a ruthless yet captivating manner. Dulac challenges the Romantic archetype embodied in Keats’s poem by way of symbolist mise en scène, self-reflexive narration, and her typically associative approach to editing, locating a modern ambiguity within the stereotypical figures of 19th-century art." - Film Society of Lincoln Center