The mountain guide Jakob is a controversial figure. His supposed father dies and leaves behind a great heritage to the people. In the town they consider Jakob a bastard, because his parents were not married, which means that without a testament, the lands in which he lives do not belong to him. But the testament indicates that the inheritance corresponds him under a single condition, he must be the first person to climb the east face of Monte Verità. There is a French version of the film, titled 'Un de la montagne', shot the year after with the same script but with different actors and by a different director.

After a passionate affair in Paris, adventurer Sascha Demidoff can no longer forget Sitha, the beautiful Maharani of Eshanpur. He travels through the wilderness of India to the maharaja's palace, where Sitha still returns his passion. But when his connection to her becomes apparent, he finds himself exposed to the revenge of the deceived maharaja. It is only with Sitha's help that he narrowly escapes from a ravenous tiger in the predator courtyard and flees with her from the palace to Berlin. Meanwhile, the architect Fürbringer is waiting for a message from Eschnapur, where he has been promised the construction of several large buildings. However, Fürbringer's friend and first draughtsman Sperling returns from India without having achieved anything. When Fürbringer's fiancée, Irene Traven, discovers that the maharajah is in Berlin incognito, she gains access to him and manages to get the prince to award her fiancé the building contract...

1941 film by Fritz Peter Buch

Concha flies from his natal Rio to Germany to help his loved one, who has been caught after finding some diamonds in a mine already registered by a company. Amongst them is the impressive one which thanks to her will be known as The Star from Rio. She finds herself staying at the manager's home hired as a dancer to present the diamond at a fashion show. Then the lights go suddenly out.

Although she is known as a patron of the arts, a graceful duchess nevertheless refuses her nephew to marry an enterprising actress in this German melodrama starring Kathe Dorsch and silent screen legend Henny Porten. When Philine (Hilde Krahl), the troupe's ingénue, is rejected as proper marital material by the Duchess of Weissenfels (Porten), Karoline Neuber (Dorsch) creates such a furor that she is banished from the country. A performance at the court at St. Petersburg also ends in disaster for the unhappy actress and abandoned by all, Karoline dies a suicide.

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.

Irene Beck, die attraktive Frau eines gut situierten Rechtsanwalts, ist unglücklich; sie leidet unter der Indifferenz ihres Mannes und versucht, ihrer Existenz zu entkommen. Den Fluchtversuch mit einem ihrer Verehrer, einem Kunstmaler, weiß der Ehemann zu vereiteln. Daraufhin stürzt sie sich ins Nachtleben, in den Drogenrausch und in einen weiteren Flirt mit einem Boxer. Sie provoziert die Scheidung, als sie für ihren Mann die in flagranti erwischte Ehebrecherin spielt. Dem Gerichtstermin folgt die Versöhnung, der Entschluß, wieder zu heiraten, und alles kann noch einmal von vorne beginnen.
In “Abwege” gibt sich Regisseur Georg Wilhelm Pabst von seiner kühlsten Seite: Die Kamera registriert lediglich, was übrig bleibt, wenn man den Figuren psychologische Motivation und Zielrichtung nimmt. Die Personen des Films posieren voreinander und vor der Kamera, und immer wieder werden die Gesten und Allüren als Teil eines erotisch aufgeladenen Rollenspiels entlarvt. Pabst zeigt teilnahmslos eine Gesellschaft des Scheins, in der die fetischisierten Objekte des Blicks zu barer Münze gemacht werden. Man tauscht und man täuscht. Es ist das Bild einer Gesellschaft, die die Gesetze des Marktes verinnerlicht hat, welches “Abwege” so frappierend modern erscheinen lässt.

In 1882 a country girl disappears from a small Hungarian village. The inhabitants suggest that she was murdered by the Jews. Everything is done to accuse them before the trial. A study in stubbornness, racism and intolerance and how to fight against it.