Expressionism was among the fundamental movements in the history of cinema. As in other arts, expressionism aimed to bring the emotions of the characters to the fore. Expressionism’s view of the world is extremely subjective, emotional and non-rational. The unconscious and its most ancestral fears come to life in the work.
Expressionism was born in Europe, in the early 1900s, which lasted until the end of the 1920s. Find the most fertile ground to take root in Germany, a country where an unhealthy atmosphere reigns at that time, while Nazism asserted itself. An atmosphere masterfully rendered by a partially expressionist film such as M, A City Searches for a Murderer, direct by Fritz Lang. In German cities one gets the impression of being able to meet “evil” around the corner: a feeling of omnipresent anguish.
What does expressionism mean? Expressionism, as the word itself says, is the opposite of impressionism. A way of expressing himself that brings the soul and the subjective feeling of the artist to the outside. The sets, the lights and the characters take on extremely unreal, distorted, hallucinatory and grotesque forms. The lights are sharp and contrasted.
The Subjective and Inner World
The objective world of impressionism and rationalism does not exist. Reality is the mirror of the unconscious of the author of the work of art, often of his deep fears. The unconscious creates reality.
In contemporary times we can see that the success of expressionism went beyond the movements that believed in the objectivity of reality. All new age movements, personal growth, life coaching are in some way related to the theories of expressionism. That is, they claim that objective reality does not exist. That we ourselves create the world around us and all the events and conditions in which our life flows.
German expressionism, however, was born in a dark period. Wars, famines, rationality and positivism that crushed the personalities of the individual, the rise to power of totalitarian regimes. The expressionism of the twenties and twenties is associated with dark, gloomy, gloomy images. Disturbing shadows crawling on the walls, as in Nosferatu by William Murnau, one of the major directors influenced by expressionist cinema.
The theoretical fathers of expressionism are deep psychologists like Freud and Jung, or the philosophers of inner time and consciousness like Henri Bergson. The exponents of expressionism were openly inspired by the themes of Romanticism. But even if they rejected symbolism, it is easy to see the influences that the symbols had on the movement.
Expressionism and Painting
Symbolist painters, with the use of strong colors, shapes and figures drawn in a sharp and sometimes violent way, wanted to express their subjectivity like the Expressionists. But their cultural references were not easily understood. A way of working that did not appeal to the expressionists who considered it too difficult to reach a non-elitist audience.
Among the forerunners of the expressionist movement were the painters Munch, Matisse, Van Gogh. Their radical expressiveness of the inner world characterized them through violent colors, the incisiveness of the sign and the use of disused wood engraving.
Among the painters of the school of German Expressionism we highlight the use of deformation of bodies and landscapes, the use of sharp lines and the refusal to use perspective to make the image realistic. The images are flat and fragmented by the lines. What interests them most is expressing the desperation and violent feelings of the subjects they represent. An often gloomy and pessimistic vision.
After painting, Expressionism involves all the arts: from literature to theater, from music to cinema.
Expressionism and Cinema
The most important expressionist films were mainly produced by the German film production house Ufa. The historical boundaries of expressionism are not precise because other related currents follow pure expressionism, such as kammerspiel and The new objectivity . Movement reaches the cinema especially between the 10s and the 20s of the twentieth century.
Many critics and historians agree that Robert Wiene‘s The Cabinet of Dr. Caligari is the only true expressionist film. But the films of Murnau, Lang and Pabst are also considered partially expressionist. Expressionist cinema has as its main characteristic that of distorting reality in a visionary and hallucinated universe with the help of special effects, and above all with light and shadows.
The stories revolve around the supernatural world, the mystery. They are full of dark and evil atmospheres with an exasperated and emotionally strong style. Ghost towns or dizzying architecture like Fritz Lang‘s Metropolis are examples of this. Geometric scenographies with angular corners. Heavily made-up faces of demonic or persecuted characters. Painted or real scenography in which the characters move as if imprisoned in a labyrinth.
Expressionist Cinema: Films to Watch
Here is an essential selection of films from German Expressionist cinema, and beyond, that you absolutely must see.
Nosferatu
When a young real estate agent, Thomas Hutter, goes to the castle to close a deal, Orlok is attracted by his blood and decides to follow him to his hometown. The arrival of the count causes a series of mysterious deaths and spreads panic among the inhabitants.
Murnau, through evocative images and disturbing atmospheres, creates a work that goes far beyond the simple adaptation of Stoker's novel. The film explores universal themes such as the fear of death, isolation and the loss of humanity. The production of Nosferatu was characterized by some legal difficulties due to the copyright of Bram Stoker's novel. Despite this, Murnau and his crew managed to make a film of great visual impact. The choice of Max Schreck to play Count Orlok was ingenious. His cadaverous appearance and his unnatural movements have made the character of Orlok one of the iconic monsters in the history of cinema. Over the years, Nosferatu has become a cult film, influencing generations of filmmakers and becoming a reference point for the horror genre. The image of Count Orlok, with his elongated nails and sunken eyes, has become an icon of horror cinema.
The Student of Prague (1913)
The Student of Prague” is a silent film directed by Stellan Rye in 1913. This film is considered one of the early examples of horror cinema and represents a milestone in the history of filmmaking.
The plot of the film is an adaptation of the famous Faust legend and tells the story of a young student, portrayed by Paul Wegener, who makes a pact with the devil to obtain a more perfect and charming version of himself. This film is known for its innovative camera techniques and for being one of the first examples of using special effects to create the illusion of double exposure and the duplication of the main character.
The Student of Prague” was a significant contribution to German Expressionist cinema and is known for its gothic atmosphere and visually stunning style. This film has influenced many directors and is considered a classic of horror cinema and auteur filmmaking.
The Cabinet of Dr. Caligari (1920)
In a distorted, shadowy town, Dr. Caligari presents his somnambulist Cesare at a fair, who commits murders under the doctor’s hypnotic command. Narrated by a madman, the tale blurs reality and hallucination, exposing the doctor’s malevolent control over his sleepwalking servant.
This seminal Expressionist film employs jagged sets, exaggerated angles, and stark chiaroscuro lighting to externalize inner psychological turmoil, rejecting realism for a nightmarish subjectivity. The stylized visuals symbolize post-WWI madness and authoritarianism, influencing horror and film noir. Its innovative narrative frame questions sanity, cementing its status as a cornerstone of arthouse cinema that prioritizes emotional distortion over plot.
The Golem (1920)
The Golem” (“Der Golem” in German) is a silent film directed by Paul Wegener and Carl Boese in 1920. It is a classic of German Expressionist cinema and is known for its contribution to the horror genre.
The film’s plot is inspired by Jewish folklore and centers around the creation of a clay monster, the Golem, by a rabbi in medieval Prague. Initially created to protect the Jewish community, the Golem ultimately becomes a destructive force when it goes out of control. The film explores themes of power, responsibility, and the consequences of playing with forces beyond one’s control.
“The Golem” is famous for its striking set design and visual effects, which were innovative for the time. Paul Wegener, who also played the title role, is recognized for his portrayal of the Golem. This film is regarded as a significant work in the history of horror cinema and has left a lasting impact on the genre.
Faust
Horror, by F. W. Murnau, German, 1926.
Faust is an elderly scholar who has lost faith in life. He is defeated by his inability to help others and by his awareness of his own mortality. One day, he meets Mephistopheles, who offers him a pact: in exchange for his soul, Mephistopheles will give him eternal youth and power. Faust accepts the pact and Mephistopheles takes him to a world of luxury and pleasure. Faust falls in love with Gretchen, a young innocent woman, but their love is thwarted by Mephistopheles.
Faust is considered one of the greatest silent films ever made. It is a visually stunning film, with Murnau's use of expressionist imagery and symbolism to create a dark and atmospheric world. The film also features some of the most iconic scenes in cinema history, such as the sequence in which Faust and Mephistopheles fly on a magic carpet. In addition to its artistic merits, Faust was one of the last major German films produced before the rise of the Nazis. The film's dark and expressionist style later influenced directors such as Orson Welles and Fritz Lang. It is a visually stunning and thought-provoking film that explores the themes of temptation, redemption, and the human condition.
LANGUAGE: German
SUBTITLES: English, Spanish, French, Portuguese
Genuine (1920)
Genuine” is a silent film directed by Robert Wiene in 1920. Robert Wiene is the same director known for the famous film “The Cabinet of Dr. Caligari,” and “Genuine” is another example of his contribution to German Expressionist cinema.
The plot of “Genuine” revolves around a mysterious woman whose charm has the power to seduce and corrupt men. The film explores themes of obsession and manipulation through the use of extravagant symbols and imagery typical of Expressionism.
Like many Expressionist films, “Genuine” is known for its unique and extravagant visual style. Wiene uses elaborate sets and intricate designs to create a surreal and eerie cinematic world. The film represents one of the many visual art pieces of the Expressionist era and contributes to its distinctive legacy in cinema.
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From Morn to Midnight (1920)
A bank cashier steals a fortune after glimpsing an enigmatic Italian lady, fleeing Berlin in manic pursuit of ecstasy. His odyssey through underworlds ends in futile disillusionment and suicide by midnight.
Karl Heinz Martin’s adaptation of Georg Kaiser’s play exemplifies pure Expressionist abstraction with skeletal sets, frantic angular designs, and symbolic frenzy, capturing post-war existential frenzy. The protagonist’s arc embodies Expressionism’s intellectual obsessions—madness, betrayal—distorting urban reality into a hallucinatory critique of materialism. This bold arthouse experiment prioritizes visual metaphor over narrative, influencing avant-garde theatre-film hybrids.
Dr. Mabuse, the Gambler (1922)
“Dr. Mabuse, the Gambler” (“Dr. Mabuse, der Spieler” in German) is a silent film directed by Fritz Lang in 1922. This is one of the early significant films in Lang’s career and is considered a classic of German cinema.
The film’s plot revolves around Dr. Mabuse, a brilliant criminal and gambler who uses tricks and deception to manipulate and exploit people. The film follows his criminal activities and the detective who tries to stop him. Dr. Mabuse, the Gambler” is known for its intricate plot and the characterization of its enigmatic protagonist.
This film was a major success in Germany at the time and established Fritz Lang as one of the leading directors of his generation. It is known for its deep psychological and societal themes and its distinctive visual style, which influenced many later directors. “Dr. Mabuse, the Gambler” is a significant contribution to German Expressionist cinema and the crime film genre.
Vampyr
Horror, by Carl Theodor Dreyer, Germany, 1932.
Late in the evening, Allan Gray arrives at an inn near the town of Courtempierre and rents a room to sleep. Gray is suddenly disturbed by an old man, who enters the room and leaves a square package on the table: "To be opened on my death" is written on the wrapping paper. Gray takes the package and heads to an old castle where he sees an old woman and meets another old man. Looking through one of the windows, Gray sees the owner of the castle, the same man who gave him the package. The man is suddenly killed by a gunshot.
Carl Theodor Dreyer's Vampyr is made in the transition years between sound and silent cinema, using the visual language of the former to bring the horror genre into the new era. In Vampyr reigns a constant feeling of anguish, a nightmarish state of mind and invisible presences that lurk in every corner. Rudolph Maté's photography records every subtlety of light and shadow in a captivating dance. By now iconic shots, such as that of a man with a scythe ringing a bell and the sign of an inn silhouetted against a dark sky. Anthology scenes like the one in which Allan dreams of being buried alive by the vampire's henchmen, in which Dreyer uses a claustrophobic subjective view that makes the viewer "enter" the coffin. Just as in his previous film, The Passion of Joan of Arc from 1928, Dreyer uses intense close-ups to underscore the fears his characters encounter. Darkness plays an important role: the shadows move independently of their bodies and the forces of evil violate the rules of physics. Vampyr is a remarkable exploration of the boundaries between light and dark, fate and shadows, night and day. One of the masterpieces in the history of cinema that cannot be missed.
LANGUAGE: German
SUBTITLES: English, Spanish, French, Portuguese
Nosferatu (1922)
Count Orlok, a vampire, arrives in Wisborg, spreading plague after being invited by estate agent Thomas Hutter’s wife Ellen, whose blood he craves. Real locations blend with eerie shadows as the town succumbs to dread and death.
Murnau’s unauthorized Dracula adaptation masterfully fuses Expressionist techniques with Romantic naturalism, using authentic settings transformed into uncanny realms through slow pans and unnatural shadows. The film’s dread builds via symbolic decay and vampiric lust, reflecting Weimar anxieties. Its lyrical horror and innovative visuals established vampire cinema’s visual language, prioritizing atmospheric terror over dialogue in silent arthouse mastery.
The Street (1923)
“The Street” (Die Straße) is a 1923 German silent film directed by Karl Grune. This film is recognized as an example of German Expressionist cinema and is based on a story by Heinrich Zille.
The film’s plot follows a young mother, Maria, and her young son as they struggle to survive in the dark and grimy streets of an unnamed city. As they try to escape poverty, they encounter a range of characters, some compassionate and others ruthless, as they seek to find a better life.
The Street” is notable for its portrayal of alienation and despair in urban society at the time. It utilizes expressionistic aesthetics to emphasize the bleak and oppressive atmosphere of the city streets. The film is considered a classic of German silent cinema and is appreciated for its contribution to the Expressionist genre.
Destiny (1922)
Destiny” (Schicksal) is a silent film from 1921-1922 directed by Fritz Lang. This film is an adaptation of the novel “Destiny” (Der Regisseur) written by Hans Müller-Einigen.
The film’s plot follows the story of a theater director who faces various personal and professional challenges as he tries to run his theater company. The film explores themes of destiny, passion, and human conflicts.
Destiny” is one of Fritz Lang’s early works before his fame with films like “Metropolis” (1927) and “M – The Monster of Düsseldorf” (1931). It’s not as well-known as some of his later films but still showcases Lang’s early directorial skills and provides an interesting glimpse into his evolving career.
The Last Laugh
Drama, by F.W. Murnau, Germany, 1924.
Jannings is the doorman of the Atlantic hotel in Berlin, happy with his role and his uniform. But his boss thinks he is too old to receive customers at the entrance and sets him up to clean the bathrooms. Jannings, deeply troubled by what happened, gets drunk in the evening to forget what happened and tries to hide his new degrading job from family and friends. But the next day he is discovered. Absolute masterpiece by Murnau, in balance between expressionism and kammespiel. The camera comes to life in an incredibly avant-garde style of visual experimentation.
Food for thought
For the ego, uniform and respectable work can be an absolute value. For the ego, being put to clean toilets can be the worst of humiliations. Because the ego reasons according to the opinions of others and wants us to conform to their scale of values. For our deepest selves, however, it may be more fun to clean bathrooms than to be a doorman at the hotel entrance.
LANGUAGE: German (captions)
SUBTITLES: English
Waxworks (1924)
“Waxworks ” (“Das Wachsfigurenkabinett” in German) is a silent film directed by Paul Leni in 1924. This is an early example of German horror and fantasy cinema.
The film’s plot consists of several separate stories, each based on a character from a wax figure in a wax museum. The stories are connected by a common narrative thread involving the museum owner and his assistant. The film features gothic atmospheres and a series of horror and bizarre scenes.
“Waxworks ” is known for its visually stunning style and its eerie representations. Director Paul Leni was a pioneer in the horror film genre and contributed to defining some of its conventions. This film is considered an important contribution to the history of fantasy and horror cinema.
The Last Laugh (1924)
A proud hotel doorman is demoted to lavatory attendant due to age, suffering public humiliation and familial scorn. Through intertitles-free visuals and exaggerated acting, his descent into despair culminates in an improbably triumphant reversal.
Murnau’s Kammerspiel advances Expressionist form with mobile cameraturgy—entering spaces and subjective POVs—while sets evoke emotional states over literalism. Emil Jannings’ tour-de-force performance distorts reality to convey shame’s subjectivity, eschewing titles for pure cinematic storytelling. This arthouse milestone critiques social hierarchy, influencing global directors with its innovative, empathetic portrayal of proletarian tragedy.
Faust (1926)
In a plague-ravaged village, an aged scholar summons Mephisto, rejuvenates via a demonic pact, seduces Gretchen, and unleashes tragedy. Grand visions of heaven and hell frame this Expressionist retelling of Goethe’s legend.
Murnau’s final German film elevates Expressionism through epic chiaroscuro and special effects, transforming mythic narrative into visual poetry. Jannings’ mischievous devil and dynamic compositions externalize Faust’s inner conflicts, blending realism with stylization. It redefines black-and-white cinematography, probing temptation and redemption amid Weimar spiritual crises, solidifying Murnau’s auteur legacy in arthouse fantasy.
Metropolis (1927)
“Metropolis” is a groundbreaking silent film directed by Fritz Lang in 1927. It’s a science fiction masterpiece and one of the most iconic films in the history of cinema.
The plot of “Metropolis” is set in a dystopian future where society is divided into two classes: the wealthy elite who live in luxury above ground and the oppressed workers who toil in harsh conditions below ground. The story follows the son of the city’s ruler who discovers the plight of the workers and seeks to bridge the gap between the classes.
Fritz Lang’s “Metropolis” is renowned for its innovative special effects, stunning set design, and visionary storytelling. It has had a profound influence on the science fiction genre and remains a classic in cinematic history. The film’s themes of social inequality and human resilience continue to be relevant today.
The Cabinet of Dr. Caligari
Horror, fantasy, by Robert Wiene, Germany, 1920.
The symbolic film of cinematic expressionism. Francis tells a story to a man: in 1830, in a small town, a guy named Caligari, plays the barker at the fair to present the attraction of him, a sleepwalker that he holds under hypnosis in a coffin. The doctor argues that the sleepwalker is able to know the past and predict the future. Unreal atmospheres and deformed sets, stylized acting, split personality, confusion between dream and reality.
Food for thought
Personality from the Greek person means mask. Person comes from the word personality. Individuality is a gift of existence, personality is imposed by society. Personality follows the flock of sheep, individuality is a lion moving on its own. Until you let go of your personality you won't be able to find your individuality.
LANGUAGE: German
SUBTITLES: English, Spanish, French, Portuguese
M (1931)
M” (M – Eine Stadt sucht einen Mörder) is a film directed by Fritz Lang in 1931. This is an important German film and is known as one of the early sound films.
The film’s plot follows the hunt for a serial killer terrorizing the city of Düsseldorf, Germany. The criminal, portrayed by Peter Lorre, is a child molester and murderer. The community decides to capture the criminal on their own, leading to a manhunt involving both the police and the city’s criminals.
“M” is an influential film that helped establish Fritz Lang as one of the great directors of cinema. It is known for its dark atmosphere and exploration of themes of social alienation and justice. Peter Lorre‘s performance in the role of the criminal is particularly acclaimed. The film is a classic of world cinema and is considered one of the greatest films ever made.
The Testament of Dr. Mabuse (1933)
The Testament of Dr. Mabuse” (Das Testament des Dr. Mabuse) is a film directed by Fritz Lang in 1933. This film is the sequel to Lang’s famous 1922 silent film, “Dr. Mabuse the Gambler.”
The plot of the film follows the police investigation to stop a criminal organization led by an enigmatic mastermind, Dr. Mabuse. This character is a criminal genius who plans and orchestrates a series of complex criminal acts. The story explores themes of madness, mind control, and the conflict between good and evil.
The Testament of Dr. Mabuse” is notable for being made during the emerging era of sound cinema and for its creative use of sound and visual effects. It is considered a classic of German cinema and an important example of the psychological thriller genre. Fritz Lang created a film that continues to influence film noir and suspense cinema to this day.
The Blue Angel (1930)
The Blue Angel” (Der blaue Engel) is a film directed by Josef von Sternberg in 1930. This film is renowned for being the first German sound film and is one of the masterpieces of German cinema and director Josef von Sternberg.
The plot of the film revolves around a respected high school professor, portrayed by Emil Jannings, who falls in love with a burlesque dancer named Lola, played by Marlene Dietrich, who performs at the Blue Angel, a decadent nightclub. The professor becomes ensnared in his passion for Lola and gradually loses his status and dignity, ending up performing alongside her at the club.
“The Blue Angel” is known for launching Marlene Dietrich’s career and for its decadent and dark atmosphere. It is a film that explores themes of loss of dignity, obsession, and moral decay. Dietrich’s performance was acclaimed and helped make her an internationally renowned star. The film is a classic of German Expressionist cinema.
A vision curated by a filmmaker, not an algorithm
In this video I explain our vision
