Germany

Thomas Holinka has returned home from war and captivity. In the absence of a suitable home, he finds himself in what seems to be an abandoned monastery. When the nuns return, a conflict is inevitable because Holinka is addicted to alcohol and gambling.

Featuring one of the era's most beloved male idols, Hans Albers, as the doctor losing control of his dark side, is Viktor Turzanskij's rarely-screened Jekyll-and-Hyde version Vom Teufel gejagt. For added depth and relevance, a colleague who, years before, had assumed the doctor's guilt when an experiment went badly returns to continue their earlier research-besides, his name is tarnished anyway, where else could he go? It's difficult to not see this very elegantly dispassionate piece (a curious predecessor to the soon rising Arztfilm-wave) as an attempt to discuss its star's and auteur's involvement with the Nazi-era film industry: Albers starred in Herbert Selpin's world-weary anti-British epopee Carl Peters (1941), and Turzanskij directed (and co-wrote) the edgy anti-Polish, anti-labor drama Feinde (1940).

After the gruesome death of her father, a young, beautiful woman living in a boarding school gets possessed by a powerful demon.

A demon, a reaper, and the ghost of a prostitute read gothic short stories and act them out.