en Cuevana 3. In the later stages of her research into the history of cinema made by women, Katja Raganelli became interested in Margery Wilson, then one of the very few living women who had been able to direct fiction features during the silent period. What survives of Wilson’s art is her acting. For her work as a director, besides sundry photos and newspaper clippings, we only have Wilson’s recollections, as recorded by Raganelli.