Jean-Pierre Bouyxou

The story opens with Celestine eluding arrest with a friend as the police raid a brothel. While hiding out in the hayloft of the Count de la Braquette's estate, she meets the hayseed handyman Sébastien and the butler Malou, who reward her favors with the offer of employment. In a manner recalling Terence Stamp's effect on the household in TEOREMA, Celestine's open and relaxed attitude toward sexuality has a transformative effect on the isolated, moribund inhabitants of the mansion, imbuing them with gift of renewed life for the men and women alike, that remains even after a third act twist that forces her to betray them.

A gang of pirates rape the two sole survivors of a ship wreck. The violated girls are rescued by the strange inhabitants of a supposedly haunted island, where they are granted supernatural powers to strike revenge against the pirates.

A mute noblewoman's vampiric heritage compels her to drain the life force from all of her lovers.

The SS puts a slutty nightclub singer in charge of a train car full of prostitutes whose "services" are reserved solely for Adolf Hitler.

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.

Lui, a struggling author with a heart condition, and his wife Elle, a retired psychiatrist, find their idyllic life shattered when Elle begins to succumb to the effects of dementia.

During WWII, Bruno gave away many people to the Gestapo. Now, 25 years after, with a new face given by plastic surgery, he is back and becomes friend with his victims' relatives and friends...

A young woman discovers that the pesticide being sprayed on vineyards is turning people into murderous lunatics.

The film is a modern-day telling of the Greek mythological tale of the Gorgon and was inspired by the 1964 classic Hammer Horror film of the same name and the 1981 cult classic Clash of the Titans.

In nineteenth-century California, two children listen to the adventures of a grandfather who fought against the Yankee invaders. At that time a mysterious man, dressed in masked black, appeared.

Adventure, crime and mystery combine with comic book dialogue and some sadistic sex for good measure. Playfully perverse, pistol-packing fun with Yoko and the alluring Francoise Blanchard.

A teen runs away from her home after attracting the sexual attention of her stepfather only to fall into prostitution.

Short horror film.

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 film is a series of images, shown in short takes (anywhere from a few frames to 30 seconds), of more or less fetishistic imagery (something Bouyxou was particularly fond of). After a credit and title sequence written on naked human flesh, the viewer sees the brilliant Molinier standing sanctimoniously in front of a screen. Soon he is joined by a woman, and he fondles her breasts while retaining his signature grin. Molinier seems to almost be the 'ringmaster' of the incidents, with almost every minute episode cutting back to him. His presence is one thing that makes this film remarkable; the same sort of aura that exists in Moliniers famous self-portraits and cut-ups is present here, on screen. (esotika.blogspot.com)

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

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

Experimental and anarchist young generation before May of 68'.

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.

A young woman inherits the house of Jean Michel but she is haunted by strange dreams and numbers. She has no idea that this is the beginning of the 'the night of clocks', which opened for those who have sinned, the dead which are not dead...