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Let us get him out of the way - Roger Vadim was a pretentious horny goat who treated Jane Fonda as Bo Derek. You are better off with Jean Rollin - at least he has a heart.
Louis Malle was a director of the humanist Truffautian variety. Not really comfortable showing Alain Delon lashing out atrocities. Around this time, as censorship all but collapsed, America reached for the bullets, while Europe went flog-happy. Good times, eh? A director such as Ken Russell would have made this a more poignant entry about class and privilege. This segment could be renamed "I`ll blink when I`m dead".
Fellini`s effort has a great airport-as-the-entrance-to-hell start, and a terrific high-strung ending. In the middle you must endure the usual parade of uncanny characters, and a parodic movie awards ceremony. This is basically 8 1/2 cranked up to 11. Satyricon aside, Fellini never made a horror film. Pity.
Is a brave central performance necessarily a good one, or is this just a lot of histrionics? I am sort of undecided. The good old fame comes with a price ploy, but the small scale makes less impact compared to The Neon Demon, and how non-fame makes you suspectible to cults was better explored in Under The Silver Lake.
It is interesting how the aspiring actress interacts with her circle of friends. Only one of them peppers her with snide remarks. Should they all suffer because of this? The two directors are obviously talented, and I understand why they were hired to do Pet Sematary - another possession movie ending in a bit of domestic dispute.