In part two of La flor, we pick up in the middle of a story about four French-speaking female spies as they and their hostage move towards an airstrip where they will face their opponents in ‘Operation Hercules’ for a final showdown at dawn.
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It’s fitting that the film starts with a mummy movie: in its heartfelt, head-on approach to genre, La Flor can be seen as an attempt to reanimate a succession of dead or dying forms. Many films in one, it thrives on multiplicity and abundance.
The results are often loose ends, tied hastily, even haphazardly, as well as broad emotional brushstrokes, with ample use of cultural shorthand. Yet these films can make for addictive, visually riveting viewing.