The purpose of this paper is to investigate the relationship between German Expressionist film and Hegel’s system of aesthetics. Through an analysis of the aesthetic qualities of Hanns Ewers’ The Student of Prague (1913) and F.W. Murnau’s Faust, I believe we have evidence to believe that the subjectivity that German Expressionist film sought to capture is aligned with the ‘interiority’ that Hegel believes Romantic art expresses. Further, I will consider whether these two films indicate that film as an artistic medium falls within Hegel’s characterization of Modern art. I believe that because both Student of Prague and Faust use elements of Romantic art in an effort to convey the melancholy spirit, and that the melancholy spirit is reflection and product of a uniquely modern Germany, these films indicate that film as a medium fulfill the requirements Hegel sets for Modern art.