But I loved Lina Romay's sensuous pouts & slopes. Stanford-Lorna pulls through a sloppy Lempicka freewheeling female dandy (curly bob, antennae-thin brows mounting a scintillating unapologetic green, her go at being a gambling socialite) but comes across as a melancholy coming-of-middle-age lass bereaved of motherhood. The point of interest is the forming of 'femina sacra' (styled on 'homo sacer'), her daughter, whom
saw it right after Rocker by Klaus Lemke and this turned my world upside down. Because I liked Rocker exactly because of the heterogeneity that I disliked so much in this film. It left a lot of questions open about the instruments we use when liking or disliking films, which seem to be either canonical or subversive in relation to the canon. Guy Delorme, hotels in Camargue and passive voyeurism are the great plusses.