Raphaël Marongiu

Shots of a car speeding down the road are intercut with kinky sex flashes (a woman with a whip rides a guy, for instance). Then the car crashes into a tree, the male driver (Christian Chaix) is decapitated and the bloody, injured female (Marie-Paule Mailleux) scoops up his head and returns to her home. There, she cleans herself and the head off, prepares dinner for herself and the head, buys the head a Ken Doll to keep it company, puts the head on a mannequin's body and then has a series of strange hallucinations, which include having sex with her bloodied lover, dancing in a room by herself with a spotlight, etc. Things culminate in her having sex with the head and then throwing it into the trash bin.

The last film prohibited by Francisco Franco. Jean-Marie Buchet plays the role of a collector of used tampons in this avant-garde comedy-adventure film.

A bourgeoisie client is transformed into a mouse and cannibalized by a prostitute in flagrante delicto with the camera changing focus in time to her breathing.

Two mysterious men dressed in black and with cigarettes dangling from their mouths drop a large, presumably heavy (since it takes two to carry it) package off on a doorstep and walk away. When the home’s owner returns he drags the package inside, then goes about doing a few more activities before deciding to finally open it. Upon removing the paper, he notices it’s a large steel barrel. Using a blowtorch, he gets the lid off and sees it’s full of oily water… but rising out of the water is a nude, voluptuous, smiling woman, who immediately starts to entice the man by massaging her breasts. Naturally, being in a barrel for who knows how long, she needs to get cleaned off and hops into a bubble bath. While she’s lounging in the tub, the man gets into bed, lights a cigarette and starts to remove him clothes in anticipation. We get to see fantasies from both the man and “the fairy.” —The Bloody Pit of Horror

One of the very few films made by Etienne O'Leary, all of which emerged from the French underground circa 1968 and can be very loosely designated 'diary films.' Like the contemporaneous films by O'Leary's more famous friend Pierre Clementi, they trippily document the drug-drenched hedonism of that era's dandies. O'Leary worked with an intoxicating style that foregrounded rapid and even subliminal cutting, dense layering of superimposed images and a spontaneous notebook type shooting style. Yet even if much of O'Leary's material was initially 'diaristic,' depicting the friends, lovers, and places that he encountered in his private life, the metamorphoses it underwent during editing transformed it into a series of ambiguously fictionalized, sometimes darkly sexual fantasias. - Experimental Film Club

On the coast of France, the police are raiding the streets and taverns at night in search of girls to send to the colonists in North America. A ship takes these girls to America, where they are placed in carts leaving for territories where colonists and soldiers are expecting them.