Incredible atmosphere, a dreamlike haze that envelops the superb ensemble female cast into an imprisonment that also holds the all too essential bonds of female companionship. Bonello's use of anachronistic music is amazing; the "Nights of White Satin" scene is one of the best sequences in recent memory.

Fine, sometimes impressively dizzying. But I keep imagining how great this could be if Bonello had the sense of directing an entire horror film, instead of a pair of frightening scenes: L'apollonide would be even more decadent, anti-erotic and suffocating, and its old fragrances would totally immerse the screen in anguish.