Many of her works reflected her feminist stance and questioned the status quo of traditional women’s roles.
Versatile, prolific, opinionated, and politically engaged, Dulac was among the most tireless practitioners and advocates of film as an independent art form in the history of cinema.
Playwright, essayist, and actor Antonin Artaud wrote the script, in the hope of codirecting the film and playing the role of the clergyman.
Dulac, however, insisted on directing the film alone.
In the late 1920s, Dulac began an intense period of radical aesthetic exploration and innovation in a series of shorter, independently-produced, low-budget films.
(1927) leaves plot and point of view behind altogether in order to explore the disruptive, obsessive, and irrational nature of desire.Subsequently, Artaud praised the film and acknowledged that it was “a precursor.” Other critics have also since revisited their initial condemnation of the film.It continued to play in Paris for several weeks and on the alternative film circuit throughout Europe, though it was banned by the British Board of Censors.Soon she became a core member of a group of filmmakers associated with the avant-garde movement known as the impressionists.Like the surrealist filmmakers who came later, the impressionist filmmakers paid careful attention to the use of framing, composition, camera angles, rhythmic editing, and effects such as slow motion, distorting lenses, dissolves, and superimpositions.Born Germaine Saisset-Schneider in 1882, she grew up mainly in Paris, where she married Albert Dulac, worked as a journalist and theater critic for various feminist publications, and directed three feature-length films between 19.Her collaboration with film critic and theorist Louis Delluc on , 1919) drew her increasingly closer to a vision of film as an independent art form with its own language.For tickets and more information, visit Film Society at Lincoln Center’s website.France, 1922 • Directed by Germaine Dulac Cast Germaine Dermoz (Madame Beudet), Alex Arquillière (Monsieur Beudet), Jean d’Yd (Monsieur Lebas), Grisier (The Maid), Madeleine Guitty (Madame Lebas), Raoul Paoli (The Tennis Champion), Thirard (The Employee) Production Marcel Vandal, Charles Delac, Aubert (Film d’Art) Scenario Andre Obey, from the stage play by Denys Amiel and Andre Obey Photography A.In 1928, Dulac made her last commercial feature, (1936), composed of archival footage with a voice-over narration extolling the potential of film to record history, is one of her last completed films, and many of her writings of the 1930s address the educational potential of the newsreel and documentary film.Dulac’s last years were much less productive due to illness.