The perfect body as an object of cult worship. Based on the mass sports and body worship movement of the 1920s, the film propagates physical training and shows in stylized documentary scenes aspects of physical hygiene, gymnastics, sports and dancing as well as scenes in which supposed sportsmen of antiquity pose naked.

At the end of the middle ages, Ursula is accused of having poisoned her own husband. She claims she is innocent, but to prove it, she must submit to a ritual: trial by fire, walking on fire along a path leading directly to a crucifix. A film that has been much commended for the visual creativity shown by the director in successive blending in of images involving Ursula, her husband, the Virgin Mary, and Jesus Christ. Much applauded, also: the performance of Jenny Hasselqvist, thus described by French director René Clair: “We shall never forget her flaming eyes, the severity of her spirit, her abrupt and alarmed expressions, like an animal under threat.”

When his ancestors seem to appear in the clouds during a storm of biblical proportions, young Ingmar decides to give up his career as the village teacher and to reclaim the land and farm of his fathers. The same stormy night, the charismatic preacher Helgum arrives in the village to spread the word about the promises of the Holy Land, which turns parents and children, men and wives, brothers and sisters, against one another. Ingmar is torn between his love for the headmaster’s daughter Gertrud who is under the preacher’s spell, and the prospects of marrying the judge’s daughter Barbro in order to keep the farm.

1920 film directed by Ernst Lubitsch