With the help of her husband and friend she founded a film company and directed a few commercial works before slowly moving into Impressionist and Surrealist territory.

Her career as filmmaker suffered after the introduction of sound film and she spent the last decade of her life working on newsreels for Pathé and Gaumont.

Germaine Dulac was born in Amiens, France into an upper-middle-class family of a career military officer.

Following the death of her parents, Dulac moved to Paris and combined her growing interests in socialism and feminism with a career in journalism.

Four years later she began writing for La Française, a feminist magazine edited by Jane Misme where she eventually became the drama critic.

[6] Following her long and influential cinema career, Dulac became the president of the Fédération des ciné-clubs, a group which promoted and presented the work of new young filmmakers, such as Joris Ivens and Jean Vigo.

[2] Following her death in 1942, Charles Ford called attention to the difficulty the French Press had with printing her obituary: Bothered by Dulac’s non-conformist ideas, disturbed by her impure origins, the censors had refused the article which, only after vigorous protest by the editor-in-chief of the magazine, appeared three weeks late.

In the early 1900s through the late 1920s, Dulac frequently contrasted the modernity of the French capital to the provincial nature of rural France, a common dichotomy in her films.

The film features an early appearance of actress Ève Francis, who introduced Dulac to her friend (later husband) Louis Delluc, filmmaker and critic.

In the article, Dulac presented two popular themes which arise in many of her films:[2] She continued her career in filmmaking, producing both simple commercial films and complex pre-Surrealist narratives such as two of her most famous works: La Souriante Madame Beudet (The Smiling Madame Beudet, 1922/23) and La Coquille et le Clergyman (The Seashell and the Clergyman, 1928).