Best known for his roles in Belle de jour, Sweet Movie, and many more, Pierre Clementi was also the architect behind a transgressive, high-minded, and disorienting cinema. Like an acid-soaked freefall, Visa de censure n° X is a rush of nudity and color from one of France’s most seductively watchable actors, set to an album's worth of psychedelic prog rock (performed by the Delired Cameleon Family, a group featuring members of French band Clearlight).

Homeo is a mental construction made from visual reality, just as music is made from auditive reality. I put in this film no personal intentions. All my intentions are personal. I’ve made this film thinking of what the audience would have liked to see, not something specific that I wanted to say: what the film depicts is above all reality, not fiction. Homeo is, for me, the search for an autonomous cinematographic language, which doesn't owe anything to traditional narrative, or maybe everything. Cinema is, above all, part of a way of life which will become more and more self-assured in the years and century to come. We are part of this change, and that’s why I tried in Homeo to establish a series of perpetual changes, in constant evolution or regress, which tries, above all, to focus on things.

Directed by a friend of Étienne O'Leary, this film missive, whose words are images, was held in very high esteem by Pierre Clémenti.

After a psychoanalyst unsuccessfully tries to convince four sisters that they are not 200 year old vampires, the Queen of the Vampires promulgates the cause of the Undead.

The impetuous Queen Marguerite of Burgundy and her two sisters, Jeanne and Blanche, indulge in sumptuous orgies at night in the chambers of the Tour de Nesle. At dawn, their partners are murdered by men. Blackmail, murder, and intrigue lend a frenetic pace to this adaptation of Alexandre Dumas's eponymous novel.