(Vergeef me) - Forgive me is the film adaptation of Cyrus Frisch his controversional play "Jesus/Lover", which was performed by hard-drug addicts and alcoholics. This film with Frisch as Jesus disguised as Jerry Springer is not light on the stomach. But those who can take it will get to know some extraordinary people... Frisch first plays with the actors by openly exceeding the borders of the acceptable the idealistic filmmaker hopes the stream of violence and misery on television will finally come to an end. The praise he gained after the first screening of these brutal scenes with the social outcasts he filmed made him outrageous. The director sells himself to the devil and goes even further in the abuse of his protagonists. How long can the viewer stay a passive accomplice?

A story about the significance of Goethe’s Faust in the development of Latvian literature, language, publishing, culture and theatre. The video highlights the intersection of world cultures and their mutual development, as well as the courage of the people to break the boundaries of stereotypic attitudes.

Kam Cert Nemuze by director Zdenek Podskalsky is a routine farce that slowly builds up steam to some rib-tickling slapstick episodes. (Miroslav Hornicek) is a deluded young man who is convinced he is Faust incarnate. This turn of mind leads to some ludicrous situations, such as when he believes a woman is really a cat. Before he can be rounded up and interned wherever they keep people with this type of a problem, love enters his life and the clouds that obscured his vision begin to dissipate.

The Faust story retold, with an aged alchemist accepting the gift of renewed youth from the devilish Mephistopheles.

The demon Mephisto wagers with God that he can corrupt a mortal man's soul.

This is not the Faust which Méliès made, but another version. The last half of the film is missing. It is interesting to note how, in an effort to let the audience know what the actors were thinking, visions were used as here when the tapestry on the wall gives place to Marguerite’s memory of her meeting with Faust.

Old and burdened Faust sells his soul to the Devil for the exchange of youth and pleasures. He seduces Marguerite and is finally condemned to hell.

Dissatisfied with his life, a desperate man decides to make an unholy pact with the Devil, ignoring the seven deadly sins.

The German legend of a scholar's unholy pact with the Devil would have been very familiar to most moviegoers (at least European ones), so Georges Méliès' early cinematic treatment likely got away with simply offering a fancifully illustrated late episode without the earlier narrative context (however, spoken narration provides some of the latter in this restored print). Tempted by Mephistopheles with all kinds of dancing and ethereal babes, Faust is at first excited and then terrified by the sight of various demons and monsters. The painted-set designers really went hog wild on this one, depicting the (sometimes sexy) torments of subterranean Hell with in bold terms (even when ballerinas prance in the foreground). (Dennis Harvey, Fandor)

A lost film. Georges Méliès also directed a film entitled Faust aux enfers in 1903 that is frequently confused with this one, but it has little to do with the story of Faust.