By the end of the 1960s, the actor Pierre Clémenti had worked with Luchino Visconti, Luis Buñuel, Bernardo Bertolucci, Philippe Garrel, and Pier Paolo Pasolini. In 1967, high on LSD, he began directing his first film (finished in 1975): Visa de censure numéro X. If one enters the wilderness to seek visions or mystical vibrations, here it is. Set to Dionysian rock music by Ivan Coaquette and Cyrille Verdeaux, the images are an ode to ecstasy. Indeed, the piece opens in high ritual as Clémenti himself, buck naked, surrounded by a circular blue light, exits a cave and climbs onto a rock where a woman (perhaps a witch?) sits in front of a burning fire. Blue turns to a florescent pink. Colors palpitate. Superimpositions abound. Music swells. It’s psychedelic. It’s about sensations. In short, it’s one of the wildest films I know.
French actor Pierre Clémenti made his film debut in Luchino Visconti’s Il Gatopardo (The Leopard) (1963). Dark, slender, and handsome, Clémenti is frequently cast as a cruel, volatile, or decadent character. Before entering films, he had extensive experience on the Paris stage. Though he appeared in two more films during the early to mid-‘60s, it was not until he starred in Luis Buñuel’s Belle de Jour (1967) that the actor gained international fame. Clémenti subsequently appeared in many European productions. In 1972, his career was derailed after he was sentenced to prison for allegedly possessing or using drugs. Due to insufficient evidence, Clémenti was released after 17 months; later he penned a book about his time in prison. Throughout his career, he continued to be active on-stage; he was also involved with the French underground film movement. In 1976, Clémenti made his directorial debut with Visa de Censure. —allmovie guide
I'm afraid I only gave this film 4 stars, however that's contingent upon me not taking LSD during the viewing--in which case it shoots up to 6 stars. It covers every psychedelic trope known to 60's druggie films--at times I thought they may be channeling LUCIFER RISING, but this film was shooting from 1967, years before Kenneth Anger released L.R. Many props for the effort and ingenuity. Don't eat the brown acid.