La Possession de l’enfant
R: Louis Feuillade. D: Renée Carl, Christiane Mandelys, Maurice Vinot. P: Société des Etablissements L. Gaumont. Fr 1909
Engl. titles

“As David Bordwell has described, Feuillade used sophisticated approaches to staging characters and directing audience attention within the single-tableau format. These strategies responded in part to Gaumont‘s later demand for rapid filmmaking, often on reused sets, but Feuillade first developed this multilayered staging techniques on the studio’s deep stage and its more architecturally sophisticated set pieces, as seen in films as La Possession de l’enfant (1909) and later in the Scėnes de la vie telle qu’elle est-Series.”
Brian Jacobson: Studios Before the System: Architecture, Technology, and the Emergence of Cinematic Space. New York 2015, p. 165

“Although this is largely similar to Progressive Era morality dramas being made in the United States, there are some interesting differences. First of all, the very act of basing a film on the premise of divorce is unusual for American pictures anytime before Kramer vs. Kramer (1979), or at least The Parent Trap (1961). It’s also interesting that there it is the father who is awarded custody, making the conflict of the film the natural love between a mother and child, and the harm done by divorce to this institution.”
Century Film Project

>>> Feuillade’s Erreur tragique