White Rose

After his study tour abroad, Simándy Pál, the Protestant pastor, returns to his homeland, Transylvania. In the church of Magyargarabó which lacked a priest for a long time, the bells are ringing again. The young priest devotedly serves his vocation in the village which becomes more and more Romanian. He falls in love with Florica, the daughter of the Orthodox pope. The girl returns his love. In the novel, the lovers are torn apart, as the pope is the paid spy of the Romanian anti-Hungarian League, but the film has a happy ending: Simándy and Florica unite in happiness. The film was originally produced in 1916 and presented in 1922 completed with some film and stage scenes.

Karoline and her daughter Marlene do not know that their long-absent son and brother Franz has been killed in the war. Franz's soldier friend Alwin goes to tell them the news, but in the event he can't bring himself to tell them the truth.

In post–World War I Europe, drifter Jim Jeffries, son of a disgraced stock speculator, stumbles into high society at a London palace card party and parlayed his luck into wealth, only to lose it all in a cutthroat Chinese port and end up in prison. Upon release, he secretly marries the resourceful Jane, reinvents himself in America as Riche Richson, and, newly prosperous, reunites with Jane, now companion to a millionaire’s daughter, on a whirlwind transatlantic adventure that proves fortune can favor the bold.

Romantic pursuits seem to end only in tragedy at the Royal Circus where three men fall for the trapeze artist Ziska.

A baron has recurring nightmares of being a dock worker on the run.

In Imperial Russia, Anna, wife of the officer Karenin, goes to Moscow to visit her brother. On the way, she meets charming cavalry officer Vronsky, to whom she's immediately attracted. But in St. Petersburg’s high society, a relationship like this could destroy a woman’s reputation.

A Jewish slave girl falls in love with the Pharaoh's son during the Exodus.

Playboy Paul Le Barroy, weds Elyane Parizot because he is ready for children, and his mistress, Louise Bonvin, is not. After the honeymoon, Elyane informs Paul that she doesn’t want children, either. When Paul leaves her, Elyane blames Louise and confronts the ex-mistress with a gun.

The story tells of a family tragedy that is based (not always factually accurate) on a well-known tragedy involving the ruling family of Austria-Hungary in 1889. Various names have been changed.

March 15, 1848; the revolution breaks out in the town of Pest. Yet at café Pilvax, in among he revolutionary youth, there is the informer of the imperial court as well. Hearing the news of the attack led by Jellasics, the inhabitants of the villages pour into the national army, and Hajdú Gyurka also escapes from his landlord. Petőfi is there at the camp of the revolutionaries, raising them to enthusiasm with his poetry.

Early Hungarian feature directed by Michael Curtiz

About a man's disappointment in love, and this provides the foundation for the upcoming trial of a much more significant love. The scene of the fatal meeting, the bar, which is a kind of world-model, and its environment: a fort under siege, from where it's almost impossible to escape...

Faithful to his word, Michael Tímar, captain of the St. Barbara, becomes the guardian of Kondya, daughter of a Turkish aristocrat on the run. Later, he weds the grateful young Turkish girl whom he saved from the waters of the Danube. While skillfully managing his wife's fortune, entrepreneur Tímar becomes an important wholesaler of wheat and exports his products to Brazil. But his marriage of convenience proves a failure. He is torn between the demands of bourgeois civilization, governed by money, and the ideal of freedom, consisting of living simply within nature. He then takes refuge by the side of the sweet Noemi on an island on the Danube.

András and Rózsi have been engaged for years now, but, given the absence of her certificate of baptism, they cannot get married.

Winston Churchill understood the power of films, but the true extent of his use of cinema as a propaganda tool is rarely explored. In 1934, one of Britain's most celebrated film producers, Alexander Korda, signed Churchill up as a screenwriter and historical advisor. It was the start of a unique collaboration. Churchill provided script notes for Korda's productions and penned an epic screenplay. When war broke out, their collaboration took on national importance. Korda was sent on a mission to Hollywood to help bring America into the war, with positive results. With access to previously undiscovered documents, this film documentary examines that mission and a friendship that underpinned a unique, creative partnership.

A young woman leaves behind her job, home and family to try to make it in the movie business. Features cameos from about three dozen German film stars of the era.

Setting the standard for his later light-hearted biopics The Private Life of Henry VIII and Rembrandt, producer-director Alexander Korda steadfastly refuses to take any of The Private Life of Helen of Troy seriously. Maria Corda, wife of the director, plays the title character as a fetchingly underdressed coquette, oblivious to all the political turmoil she's causing when she allows the handsome Paris (Ricardo Cortez) to kidnap her. Meanwhile, poor King Menelaus (Lewis Stone), Helen's husband, stands by in stoic silence, just as he's done on previous occasions when his wife succumbed to the charms of various sexy suitors (one of whom is played by future cowboy star "Wild Bill" Elliot). Finally galvanized into action, Menelaus reclaims his bride, who seems none the worse for wear for her experiences.

Carmine Gallone and Amleto Palermi’s The Last Days of Pompeii 1926 stages in sumptuous colour tinting the epic fall of the ancient city buried by Mount Vesuvius’ eruption. Adapted from Edward Bulwer-Lytton’s love story, the film was innovative in its special effects and an early major box-office hit. A beautiful tinted restoration print was prepared using photochemical processes by Centro Sperimentale di Cinematografia-Cineteca Nazionale in the mid-1990s and the premiere screening of the restoration print was held in the amphitheatre in Pompeii, followed by a screening at the major restoration festival ‘Il Cinema Ritrovato’ in Bologna in 1998.