The final installment in Ulrike Ottinger’s Berlin Trilogy (following TICKET OF NO RETURN and FREAK ORLANDO) casts Delphine Seyrig as the nefarious Fritz Lang supervillain Dr. Mabuse, here the head of a powerful media empire that seeks to create headlines by manufacturing (and then publicly destroying) its own celebrity: the wealthy, handsome playboy Dorian Gray.

1975年，随着联合国“国际妇女年”的临近，法国电视台播放了一个名为“妇女年：感谢上帝”的节目。“一切都结束了，”这本书汇集了法国男性的各种可疑言论，当时唯一的女性客人，当时的女国务卿弗兰·奥伊丝·基洛德应该对此作出回应。Maso和Miso Vont en Bateau是女权主义者视频活动家“Les Insoumuses”（卡罗尔·罗索普洛斯、德尔芬·塞里格、纳贾林加特和IO安娜·维德尔）对今晚的回应：他们愤怒而机智地从编辑桌上插手，不仅曝光了节目，而且还揭露了吉洛德作为父权主义者的滑稽行为的办公室。社会。“没有电视图像能代表我们；我们将借助视频讲述我们自己的故事。” 这个集体的另一个作品是《S.C.U.M.宣言》，该宣言分阶段阅读同名的1967年作品。当男性主导的世界事件的新闻图像在电视屏幕上闪烁时，Delphine Seyrig传播了Valerie Solanas关于男性的论文——根据宣言，男性在生物学上是不完整的，并且受到阴道嫉妒的驱使。 As the UN’s “International Year of the Woman” came to a close in 1975, French TV ran a programme called “The Year of the Woman: Thank God! It’s Over,” which assembled various questionable statements by French men to which the only female guest, then State Secretary for Women, Françoise Giroud, was supposed to respond. Maso et Miso vont en bateau is how the feminist video activists “Les Insoumuses” – Carole Roussopoulos, Delphine Seyrig, Nadja Ringart, and Ioana Wieder – responded to this evening: with fury and ample wit, they intervene from the editing table to expose not only the show, but also Giroud’s very office as being the farce of a patriarchal society. “No television image can represent us; we’ll tell our own stories with the help of video.” Another of the collective’s works is S.C.U.M. Manifesto, which stages a reading of the eponymous 1967 work. As news images of male-dominated world events flicker across the television screen, Delphine Seyrig disseminates Valerie Solanas’s theses on men – who, according to the manifesto, are both biologically incomplete and driven by vagina envy.

访谈杜拉斯，关于《印度之歌》

It is a careful and sympathetic character study/biography of an actual young woman named Aloise, who was born about 1900.

In 2010 L'IMEC which runs Alain Robbe-Grillet's fund, asked Volker Schlondorff (together with Bernard-Henry Lévy who coproduced the film) to comment some previously unreleased footage made by Françoise SPIRA during the shooting of Last Year in Marienbad. Françoise Spira was in the cast and filmed the shooting in super 8 between the takes. After she passed away, her husband exhumed these rolls and entrusted them to Alain Robbe-Grillet. The choice of Schlondorff was obvious for he was Resnais'assistant on the film and mostly because his recollection seems to resurface with the discovery of those pictures just as Delphine Seyrig's memory seems to wake up with Giorgio Albertazzi's voice in Marienbad itself. Though the film itself is rather poor (no sound except Schlondorff's voice over and some extracts from Resnais'film), there's a must to see moment of strange collision between Marienbad and "Night and Fog" when Spira, Schlondorff, Sacha Pitoef and his wife take advantage of a break to visit a village which celebrates the "october feast" a few yards from Dachau. Once again, Resnais' masterpiece generates mystery and fascination.

A British agent's son is kidnapped and held for a ransom of diamonds. The agent finds out that he can't even count on the people he thought were on his side to help him, so he decides to track down the kidnappers himself.

A 300-year-old lesbian vampire and her lover stay at a posh European resort. They seduce a sadistic husband and his beautiful wife. The husband is soon found dead, and his wife joins the two vampires.

菲利克斯（乔治·马沙尔 Georges Marchal 饰）从小就没有感受过母爱，这段悲惨的童年经历大大的影响了他的人生轨迹。某日，在一场盛大的晚宴上，菲利克斯邂逅了一位美丽的夫人，这位夫人的出现摄走了菲利克斯的魂魄，让他惶惶不可终日。 之后，菲利克斯得知这位美丽优雅的女士是居住在安得尔河畔的莫尔索夫人（德菲因·塞里格 Delphine Seyrig 饰），她的丈夫年迈而又脾气暴躁，孩子又体虚多病。莫尔索夫人不幸的遭遇让菲利克斯对她更加的着迷，他想方设法接近这一家人，并最终顺利的登堂入室。面对菲利克斯热烈的追求，恪守妇道的莫尔索夫人一味的闪躲，但她无法忽视自己内心蠢蠢欲动的欲望。

Michael is the younger son of a middle-class family, a strong-willed and free-thinking fellow, who is off in some distant country fighting for a revolutionary cause. Everyone in the family writes to him, describing the events of their lives, as they drift into a kind of conventionality which would perhaps have horrified them earlier. Only Michael's girlfriend Mara (Mariangela Melato), the mother of his child, retains her independence, even though it is through the help of Michael's increasingly conventional friends and family that she survives.

The film is a homage to Delphine Seyrig and her fascination for the book Calamity Jane’s Letters to her Daughter. Those letters are from a mother to an absent daughter which became a feminist landmark in the late 1970 and the source for Seyrig’s film project about Calamity Jane’s sensibility and insight about life. The reading of those letters to a daughter who doesn't receive them as they are not sent permits a self-reflection about feminism and motherhood and is a homage to Seyrig's creativity and a long-term commitment among women in the 21st century to share other women stories.

1981 film by Ulrike Ottinger

Two men, part tramp, part pilgrim, are on their way to Santiago de Compostela in Spain. On their way they meet a whole assortment of people—some truculent, some violent, and some bizarre; they experience many adventures—some mysterious, some erotic, some even supernatural.

Based on an incident in the life of Beat icon Neal Cassady and his wife, the painter Carolyn, the film tells the story of a railway brakeman whose wife invites a respected bishop over for dinner. However, the brakeman's Bohemian friends crash the party, with comic results. Pull My Daisy is a film that typifies the Beat Generation. Directed by Robert Frank and Alfred Leslie, Daisy was adapted by Jack Kerouac from the third act of his play, Beat Generation; Kerouac also provided improvised narration.

1967年的《S.C.U.M.宣言》对瓦莱丽·索拉纳斯1967年的同名宣言进行了解读。当男性主导的世界事件的新闻图像在电视屏幕上闪烁时，Delphine Seyrig传播了Valerie Solanas关于男性的论文——根据宣言，男性在生物学上是不完整的，并且受到阴道嫉妒的驱使。 S.C.U.M. Manifesto 1967 stages a reading of Valerie Solanas’s eponymous manifesto from 1967. As news images of male-dominated world events flicker across the television screen, Delphine Seyrig disseminates Valerie Solanas’s theses on men – who, according to the manifesto, are both biologically incomplete and driven by vagina envy.

A filmed adaptation of Rose Leiman Goldemberg’s play, based on Sylvia Plath’s intense correspondence with her mother Aurelia, from the time the poet was in university until her suicide. Delphine Seyrig and her niece Coralie Seyrig recite Sylvia and Aurelia’s letters to the audience directly.

1963 film by Alain Resnais

A fairy godmother helps a princess disguise herself so she won't have to marry her father.

In the 70s, actress Delphine Seyrig and director Carole Roussopoulos, both militant feminists, were the pioneers of video activism in France. They documented the demonstrations of French feminists and used the new technologies to counter the poor representation of women in the public media.

1968 film by François Truffaut

1975 film by Marguerite Duras