In 2019, a new version of Extase, the fabled 1933 movie by Gustav Machatý, won a prize for the best digitally restored movie at the Venice Film Festival. The aim was a faithful restauration of the Czech version, shown at the film festival in 1934. The movie’s rich history is full of scandals, outrage, censorship and Hollywood myths. The gossip focuses on young movie star Hedy Lamarr (then still named Hedy Kiesler), her nude scenes and the supposedly first female orgasm on screen (in a non-pornographic movie). Her illustrious persona and the scandals led to the emergence of an immense body of literature. However, it is the film’s aesthetic and its progressive story about a woman finding her sexual freedom that provides the film’s anchor in the often-forgotten realm of cinematic innovation in Central Europe between the wars. Machatý followed in the steps of filmmakers such as Fritz Lang, F. W. Pabst, or Sergej Eisenstein and Dziga Vertov, while expressly tackling the question of female identity. The article follows the narrative of the film and tries to assess the often ambiguous nature of Machatý’s ideas towards emancipation and his pictorial language.