A Guy Named Agnes ... A Girl Named Dick

A Parisian museum director believes his wife has lost interest in him and so places a poisoned cigarette in the box on his desk - thus allowing chance to decide the moment of his death.

A Spanish festival reveals the emotional distance between a woman and a man.

The Professor dispenses the wisdom of the ages and does not make a living wage. The sons of the rich and powerful are students lacking any motivation. The next door neighbor of the Professor, businessman Olsen, has money and lots of food, while the Griggs have hardly any. Both Peter Olsen and Reverend Gates are taken by the beauty of young Amelia Griggs. When rich son Phil West falls for Amelia Griggs and befriends the poor Reverend Gates, he finally sees the difference in his life and theirs and tries to do something to change that.

Salomé (1923), a silent film directed by Charles Bryant and starring Alla Nazimova, is a film adaptation of the Oscar Wilde play of the same name. The play itself is a loose retelling of the biblical story of King Herod and his execution of John the Baptist (here, as in Wilde's play, called Jokaanan) at the request of his stepdaughter, Salomé, whom he lusts after.
Salomé is often called one of the first art films to be made in the U.S.[citation needed] The highly stylized costumes, exaggerated acting (even for the period), minimal sets, and absence of all but the most necessary props make for a screen image much more focused on atmosphere and on conveying a sense of the characters' individual heightened desires than on conventional plot development.
Despite the film being only a little over an hour in length and having no real action to speak of, it cost over $350,000 to make. All the sets were constructed indoors to be able to have complete control over the lighting. The film was shot completely in black and white, matching the illustrations done by Aubrey Beardsley in the printed edition of Wilde's play. The costumes, designed by Natacha Rambova, used material only from Maison Lewis of Paris, such as the real silver lamé loincloths worn by the guards.
No major studio would be associated with the film, and it was years after its completion before it was released, by a minor independent distributor. It was a complete failure at the time and marked the end of Nazimova's producing career.
A longstanding rumor, which seems to have started while the film was still in production, suggests that its cast is comprised entirely of gay and bisexual actors in an homage to Oscar Wilde, as per star and producer Nazimova's demand. It is, of course, impossible to say, but one of the extras in Salomé reported that a number of the cast members—both featured and extras—were indeed gay, but not an unusual percentage of them, and certainly not all of them. What can be said is that Nazimova herself was a lesbian, the two guard characters (who, next to Salomé, have the most screen time) are at least played very stereotypically gay, and several of the female courtiers are men in drag.
Salomé was screened in 1989 at the New York International Festival of Lesbian and Gay films and in 1990 at the New York Gay Experimental Film Festival.
In 2000, the United States Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.

An unhappily married woman devises a scheme to get rid of her husband.

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 story is about a superstitious village, where the mayor has sold a tower to an unknown, who is soon suspected of being the devil.

Taken from The Arabian Nights, the film tells the story of a wicked sorcerer who tricks Prince Achmed into mounting a magical flying horse and sends the rider off on a flight to his death. But the prince foils the magician’s plan, and soars headlong into a series of wondrous adventures.

The picture compares the fate of two heroines Anna and her lively and energetic sister-in-law Vasilisa, who openly defies the old way of life.

1928 film directed by Germaine Dulac

Wild girls at a college pay more attention to parties than their classes. But when one party girl, Stella Ames, goes too far at a local bar and gets in trouble, her professor has to rescue her. Gossip linking the two escalates until Stella proves she is decent by shielding an innocent girl and winning the professor's respect.

名著《静静的顿河》首次被搬上银幕，由苏联第一位女导演Olga Preobrazhenskaya执导。
While it was not unusual to find a woman director at the helm of a Russian film in the early 1930s, neither was it an everyday occurrence. Olga Preobrajenskaya's Cossacks of the Don focuses on plump heroine Akainya, who is married to Stephen but is in love with Grisha. For his part, Grisha loves Akainya but is compelled to marry Natalie. Meeting clandestinely in the moonlight by the banks of the Don, Akainya and Grisha plan to run off together, but WWI destroys their plans. Grisha returns from the battlefield to discover that Akainya has betrayed him. Knocking her down in full view of the entire village, the "hero" stalks off to parts unknown. No, Cossacks of the Don is not a feminist manifesto, despite the presence of a woman in the director's chair.
Actress, director, and scenarist Olga Preobrazhenskaya is considered to be one of the most important women in Soviet cinema. She was not only one of the most popular actresses of early Russian film, she was also that country's first female director. Preobrazhenskaya began her career as an actress at the Moscow Art Theater where she recieved her training. After that she acted in many provincial Russian theaters before starring in her first film Kliuchakh schastia (1913), a tremendously popular work based on bestselling novel by Anastasia Verbitskaia. She went on to star in several more big-budget pre-revolutionary movies until 1916 when she co-directed Baryshnia-krestianka with Vladimir Gardin. She did not direct again until 1926 after she had been teaching in the first Soviet film school for several years after the 1917 Revolution. Her next two films were targeted for children. After 1927 she collaborated with director Ivan Pravov until 1941. Their best known film, considered one of the greatest films of early Soviet cinema, was Baby riazanskie (1927) the story of a traditional young woman who is raped by her father-in-law. Preobrazhenskaya continued directing until the end of the '30s.

1931 film by Leontine Sagan

A drunken newspaperman is rescued from his alcoholic haze by an heiress whose love sobers him up and encourages him to write a play, but he lapses back into dipsomania.

When her father files bankruptcy and then dies, Rose's fiancé jilts her; she takes a job as a maid in a Montmartre kindergarten with 150 poor children. Rose gives each child loving attention, and soon she's their favorite. An especially needy child is Marie, a prostitute's daughter. Rose and she bond, and Marie is jealous of all attentions paid Rose, especially those of Dr. Libois, the school's physician. When Rose inadvertently guides the children through the educational experiment of a visiting scholar, and then discloses she has a college degree and is working beneath her station, the principal wants to fire her. Is there any way she can stay? And what will happen to Marie?

Young Parisian Nana wards off of a boozed-up military officer at a local restaurant, and fellow diner Gaston Greiner is so impressed with her pluck that he decides to make her a performer at his musical theater. Soon, Nana is a star, and the girlfriend of Greiner and two other men. But when he learns that she's been getting around, Greiner fires her. As she tries to reclaim her singing job while dodging yet another suitor, her treachery might get the better of her.

1935 Nazi propaganda film by Leni Riefenstahl about the 1934 Nazi Party Congress in Nuremberg

Harriet, Walter Craig's wife, is an upper-class woman obsessed with control, material possessions and social status whose behavior makes difficult her relationship with domestic service and family members.

As its title indicates, La Mort du Cygne is set in the special world of the ballet. Young dance student Rose Souris idolizes her teacher-role-model Mademoiselle Beaupré, and will do anything to help Mademoiselle Beaupré further herself. Thus, when rival ballerina Nathalie Karine lands a much-coveted role, Rose arranges an accident causing Nathalie to break her leg. The girl comes to regret her rash behavior when it appears as though Nathalie will never dance again.

Commissioned to make a propaganda film about the 1936 Olympic Games in Germany, director Leni Riefenstahl created a celebration of the human form. This first half of her two-part film opens with a renowned introduction that compares modern Olympians to classical Greek heroes, then goes on to provide thrilling in-the-moment coverage of some of the games' most celebrated moments, including African-American athlete Jesse Owens winning a then-unprecedented four gold medals.