One night on a deserted street, Pierre (Olivier Martin of Rollin's LA VIOL DU VAMPIRE) runs into a scantily clad mute young woman (Caroline Cartier) who is being pursued by men in tuxedos and bizarre animal masks who kidnap her and take her back to a townhouse that belongs to Pierre's father, industrialist Georges Radamante (Maurice Lemaître) who warns Pierre to mind his own business. Pierre sneaks into the townhouse for one of his father's parties and witnesses a woman playing Russian Roulette shoot herself and the mute young woman drinks her blood. Pierre delves deeper into the mystery and has to fight off his own father's thugs while Georges and his associates squirrel the young woman off to an isolated country house. Pierre then meets the Grandmaster (Michel Delahaye) of a large group of bizarre looking and acting hippies - of whom the young woman is one of their number - who lay siege to the country house with his help to rescue the girl who it turns out has an unusual connection to Pierre. Rollin's exploitation films could be seen as the link between the "traditional" French New Wave and the works of the more experimental Alain Robbe-Grillet (whose LA BELLE CAPTIVE quotes images from the later half of this film) with its surrealist-on-the-cheap touches and decadent Russian Roulette-playing upper class versus communal vampire hippies plot. Not as explicitly erotic as Rollin's later films - like LA VIOL DU VAMPIRE, LA VAMPIRE NUE still uses nudity as a teasing element - this is still quintessential Jean Rollin in its triumph of imagination over budgetary limitations.
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Rollin's exploitation films could be seen as the link between the "traditional" French New Wave and the works of the more experimental Alain Robbe-Grillet (whose LA BELLE CAPTIVE quotes images from the later half of this film) with its surrealist-on-the-cheap touches and decadent Russian Roulette-playing upper class versus communal vampire hippies plot. Not as explicitly erotic as Rollin's later films - like LA VIOL DU VAMPIRE, LA VAMPIRE NUE still uses nudity as a teasing element - this is still quintessential Jean Rollin in its triumph of imagination over budgetary limitations.