Any narratively uninhibited film that starts with a rotund uniformed man zealously French kissing a vast inflatable balloon, and randomly cutting to our hyper-exotic narrator strongly suggested the unfurling of skewed cinematic brilliance! Perky quixotic love vampire, Angela (Helena Ignez) is the uninhibitedly didactic nubile high priestess of nymphomania, Ultra-powerful number one enemy of men! Traversing an escalator, repeatedly kicking her swarthy beau in the shins, Angela ardently expressing her appreciation of ignorant men merely the tantalizing prelude to her many beguiling eccentricities!
The playful, erotically unbound, Angela is married to the obese, Doktor Plirtz (Jo Soares) part comic book villain, part megalomaniacal tycoon, part grandstanding, candy stuffing buffoon. Plirtz seemingly unaware that his luxuriously libidinous, cigar-chomping wife is a serially man-eating sex siren! Sinfully sojourning on the appropriately named Pleasure island, Angela triumphantly takes on, and blithely discards all the predictably lustful men that tickle her altogether delectable fancy, leaving them spent and dazed in her wickedly wanton wake!
The hyperbolic, dazzlingly epigrammatic, refreshingly non-conformist celluloid celebration of delicious anti-western demon, 'Angela of Flesh and Blood' is a uniquely energizing Godardian assault on the reeling senses! Its engagingly eclectic baroque pop/samba soundtrack galvanizes the film's luridly psychedelic 'do what thy wilt' sensibilities. Rogerio Sganzerla's exhilarating drunken delirium of riotous comic book kookiness, and lunatic lo-fi, proto-punk invention remains a ferociously freak-headed fever dream no less quixotic-exotic than comparable works by, Alejandro Jodorowsky or, Dusan Makavejev.
