Lelia (Lelia Fischer) stalks the city seeking to connect with vestiges (or fantasies) of the memory of her executed father. She has a hypnotic effect on the people she meets, entrancing them even while murdering those she feels are already empty shells. Meanwhile, a detective stalks her through the city alternately intrigued and repulsed by her acts. Given the title (also that of the source novel) and that it is Arrabal's last directorial work to date, it is fitting that the film features recycled music and footage from his first film VIVA LA MUERTE (available separately or as part of the first 3 disc FERNANDO ARRABAL COLLECTION) - as well as THE EMPEROR OF PERU from this set - which was based on his novel BABYLON. On the other hand, the plot is atypical Arrabal (based on my viewing of five of his other films and of course Jodorowsky's FANDO Y LIS which was based on Arrabal's work). Although the story thread of the protagonist trying to connect with the memory of her executed father can be likened to Arrabal's first film, the structure of the film comes across as what Robbe-Grillet might have done had he taken to the streets in the eighties or nineties with an analog video camera, constructing a plot around the sites of the city, interviews/scripted readings with intellectual friends (including a brief appearance by Spike Lee), and sending actors out into the street to bewilder passersby. The videography, video switcher graphics, and special effects scream school AV club but Arrabal's literal narration of the story is poetic and compelling; giving the only occasionally evocative images a sense of profundity (and at times anticipates the strangely cruder later work of digital-video-era Jess Franco). Besides the recycled music from VIVA LA MUERTE, the film also contains African vocals which were sampled around that time by the world music group Deep Forest for their first hit album. The film is noted for an appearance by Spike Lee.