Secrets of a Soul
Many films relate directly to my work in Jewish Studies, but I would like to point to one a bit less obvious: G. W. Pabst's 1926 film Secrets of a Soul (Geheimnesse einer Seele), the first serious cinematic representation of the psychoanalytic process. From the fertile cultural scene of Weimar Germany, psychoanalysis, like film, burst into the public consciousness, and captivated arbiters of popular culture around the world. One of these, Hollywood mogul Samuel Goldwyn, even approached Sigmund Freud himself, offering him $100,000 to consult on a psychoanalytically themed film. Freud turned down the offer ("We do not want to give our consent to anything insipid"), but two in his "inner circle," Karl Abraham and Hans Sachs, proved more willing, and with screenwriter Hans Neumann they helped create a minor masterpiece. 
The film opens on a domestic scene, in which a middle-aged professor, Martin Fellman (Werner Krauss, of Cabinet of Dr. Caligari fame) is startled by a scream and accidentally cuts his wife. That evening, he has a frightful dream, portrayed in a fantastic surrealist cinematic sequence, the brainchild of Hungarian Jewish artist Ernö Metzner. After the dream, Fellman develops an acute neurosis: he cannot touch knives and is irrationally afraid of returning home to his wife. He is discovered in his sickened state by a kindly stranger, who turns out to be none other than Dr. Orth, an expert in a "new method for treatment of such illness," psychoanalysis. "There is no reason to despair!" the doctor declares. For the rest of the film, we follow, in abridged form, the ups and downs of 1920s therapeutic process, portrayed once again in Metzner's brilliant surrealism, until at last Dr. Orth effects his cure through a triumphant interpretation of Fellman's first, troubling dream.
Like psychoanalysis, Secrets of a Soul is not "Jewish." But also like psychoanalysis, it has an organic connection to the particular world of pre-World War II central Europe, one impacted so deeply by the varied expressions of cultural and intellectual contributions of its Jewish community. To me this makes the film, in addition to its beauty, a powerful spotlight on an important moment in Jewish German cultural history.
(1) Eli Zaretsky, Secrets of the Soul: A Social and Cultural History of Psychoanalysis (2004), 145–146. I am indebted to Professor Zaretsky for the factual content (including quotations) of this paragraph.