Thought of by some as the last truly great film of Jean Rollin's career, the 1982 feature La Morte Vivante (The Living Dead Girl) is a fascinating but flawed feature graced with two of the most unforgettable performances in all of Rollin's canon. A frustrating work brought to life by some of the most iconic imagery seen in a Rollin film, The Living Dead Girl is a simultaneously ferocious and poetic work deserving of its reputation as one of Rollin's most important films...

Eloquent, expressive and altogether haunting, Jean Rollin’s fourth feature film,
1971’s Vierges et Vampires (Requiem for a Vampire) shows him as an artist totally in control of his own art and totally separate from anyone else in cinema before or since

Jean Rollin's penultimate film, don't know why it hasn't been here, as it's an absolutely beautiful film. I used to think Jean Rollin's late films were weak. But, no, at least, this isn't!!
The plot (if there is any) revolves around the protagonist, supposedly the cousin of a recently deceased filmmaker called Michel Jean, following the book "Dreamflight" and discovering his world. (Watching this film now, one instantly thinks of Jean Rollin himself, and indeed, MIchel Jean is Jean Rollin himself). It's probably particularly interesting for Jean Rollin fans, as all those icons, motifs, and even many shots/sequences of his earlier films are juxtaposed in a poetic way to form this film. Characters are both real and imaginary...
I'd like to simply quote a seq of dialogue in the beginning of the film.

v
Three strangers arrive at a chateau inhabited by four women believed to be vampires. But are they vampires or are they under the hypnotic machinations of an old man? Rollin shot the first part of this film as a short subject to be billed with an American vampire film bought by a distributor that just over an hour (it too was designed for double billing). His producers were impressed with what he accomplished with next to nothing and asked him to expand the film to feature length. Thus, the first half hour (part one) is an intriguing short that makes the most of its found locations, make-shift production design, and available lighting (and a very early example of a turntable effect around two arguing actors to heighten the intensity of the scene). The second half (which necessitates resurrecting several of