Born in Cherryvale, Kansas, Louise Brooks was the daughter of Leonard Porter Brooks, a lawyer, who was usually too busy with his practice to discipline his children, and Myra Rude, an artistic mother who determined that any "squalling brats she produced could take care of themselves". Rude was a talented pianist who played the latest Debussy and Ravel for her children, inspiring them with a love of books and music. When she was nine years old, a neighborhood predator sexually abused Louise. This event had a major influence on Brooks' life and career, causing her to say in later years that she was incapable of real love, and that this man "must have had a great deal to do with forming my attitude toward sexual pleasure....

French film historians rediscovered her films in the early 1950s, proclaiming her as an actress who surpassed even Marlene Dietrich and Greta Garbo as a film icon, much to her amusement. It would lead to the still ongoing Louise Brooks film revivals, and rehabilitated her reputation in her home country.  James Card, the film curator for the George Eastman House, discovered Brooks living as a recluse in New York City about this time, and persuaded her to move to Rochester, New York to be near the George Eastman House film collection. With his help, she became a noted film writer in her own right. A collection of her writings, Lulu in Hollywood, was published in 1982. She was profiled by the film writer Kenneth Tynan in his essay, "The Girl in The Black Helmet", the title of which was an allusion to her bobbed hair, worn since childhood, a hairstyle she helped popularize, along with earlier actresses such as Colleen Moore.  She rarely gave interviews, but had special relationships with film historians John Kobal and Kevin Brownlow. In the 1970s she was interviewed extensively, on film, for the documentaries Memories of Berlin: The Twilight of Weimar Culture (1976), produced and directed by Gary Conklin, and for the documentary series Hollywood (1980) by Brownlow and David Gill. Lulu in Berlin (1984) is another rare filmed interview, produced by Richard Leacock and Susan Woll, released a year before her death, but filmed a decade earlier. Author Tom Graves was allowed into Brooks' apartment for an interview in 1982, and later wrote about the at times awkward and tense conversation in his article "My Afternoon With Louise Brooks" that is the lead piece in his book Louise Brooks, Frank Zappa, & Other Charmers & Dreamers.

Using a quote from the above article, answer the following question: Did she star in any new movies during this time?
documentaries Memories of Berlin: The Twilight of Weimar Culture (1976), produced and directed by Gary Conklin, and for the documentary series Hollywood (1980)