In his final film SOLEIL, Pierre Clémenti amalgamates the stylistic elements of his previous film (and sole feature), À L'OMBRE DE LA CANAILLE BLEU, with influences from his poetry and earlier work as a filmmaker. Via dramatic reenactment, Clémenti reflects on his unlawful arrest in 1972 for drug possession, whereupon he was imprisoned, without trial, for 17 months. The film also features extensive footage of Clémenti’s family and children, including his wife Margareth and son Balthazar.

À L'OMBRE DE LA CANAILLE BLEU (English translation: IN THE SHADOW OF THE BLUE RASCAL) is set in the underbelly of “Nécrocity,” a city of nightly terrors. In this fictionalized Paris, fueled by heroin and paranoia, an anarchist group (played by Pierre Clémenti’s inner circle) — whose mastermind is a villainous military leader played by Clémenti himself — tries to keep one step ahead of the grip of state power. After 300 kilos of heroin goes missing, a significant wave of crime is catalyzed.

Dense with hallucinatory visuals and frenetic montages, LA DEUXIÈME FEMME presents a filmic whirlwind through Pierre Clémenti’s family life, as well as his life on film sets as an actor. The title of the piece refers to the artist’s second wife, Nadine, but it also functions as a filmic love letter to his mother, and to artists and Warhol superstars Nico and Viva.

SOUVENIRS, SOUVENIRS consists of some of the earliest footage that Pierre Clémenti ever shot. While it is the closest of his works to a traditional home movie, it is notable for featuring footage of Catherine Deneuve during the filming of Luis Buñuel’s BELLE DE JOUR (1967)as well as Philippe Garrel on the set of his film LE LIT DE LA VIERGE (1969). These rare and fascinating behind-the-scenes glimpses of Buñuel’s and Garrel’s films — both of which starred Clémenti — are accompanied by bursts of color that would become Clémenti’s signature as an avant-garde cineaste.

Positano is an island of the Amalfi Coast that Neptune would have, according to legend, created for the love of a nymph. Not unlike Neptune, Pierre Clémenti’s POSITANO embodies a total love in which family and friends are seized in the same poetic field. Perched on the rocks of the island, the house of Frédéric Pardo and Tina Aumont became, in 1968, a meeting place for the French “undeground.” Clémenti lived in Pardo and Aumont’s house for some time and, in POSITANO, created images of dazzling sensuality.