Feels both ahead of its time and behind it. Epstein turns what is essentially a silent into a precursor for sixties avant-garde. He truly displays a remarkable command of the medium.

A baker's apprentice gets fired from his job for being late but is unwilling to leave the apartment given to him by his employers. So what does he do? He decides to not leave at all and even asks his friends to move in. A somewhat lazy film about lazy people.

As ambitiously experimental in visual terms as Sombre, but it would be incorrect to suggest that his imagery is devoid of beauty. It's not the kind we're used to, however. Narratively, Grandrieux has once again stripped away almost all story, dialogue, etc, but the dark psychosexual impulses are kept intact. Again, it would be incorrect to suggest that the film is devoid of psychology.

The ideal illustration of cinema as being death at work. Monteiro, ever the provocateur, leaves with an image worth remembering.