Jean Rollin is often associated with vampire films, but those familiar with his complete catalog know he was far more than just that. Rollin developed a distinctive directorial approach that was immediately recognizable and which he could successfully apply to various horror and fantastic subgenres. Few filmmakers would have even considered tackling a zombie film the way Rollin did in *The Grapes of Death* (1978) or *The Living Dead Girl* (1982). While influenced by early Cronenberg, *Night of the Hunted* (1980) stands out as an emotional and surrealist science fiction piece that exemplifies Rollin’s style. Even *The Escapees* (1981), which might seem somewhat unusual at first glance, bears his unmistakable mark. By 1974, Rollin had essentially refined his signature style with films like *Shiver of the Vampires* (1970) and *Requiem for a Vampire* (1971). It was therefore surprising, though characteristic of his unconventional nature, that he decided to experiment with something different after those films, resulting in the minimalist masterpiece *The Iron Rose* (1973). His return to horror following two erotic films, 1974’s *The Demoniacs*, a notably original revenge film from the seventies, was again unlike anything seen before and clearly identifiable as Rollin's work. Following a raid on a wrecked ship—a wreck deliberately lured onto rocks by pirates—a group of those pirates brutally assault and abandon two young women who were the only survivors. Plagued by fear of discovery and with the Captain experiencing visions related to the girls, the group sets out to finish them off. However, the girls escape again, finding their way to ruins near the village where they encounter guardians who explain that a powerful demonic entity is imprisoned within those ruins. The girls unleash the demon, which grants them the powers necessary for one night to exact revenge on the pirates. While *The Demoniacs* (Les démoniaques) could be categorized as a rape/revenge film, it's unlike any other in its kind due to Rollin’s unique approach. What might have been a straightforward tale of vengeance evolves into something else entirely with Rollin incorporating elements like superstition, cursed villages, guardian clowns, and prostitutes who possess second sight. The film provides little background regarding the demon imprisoned or the reason for the village's curse; therefore, those unfamiliar with Rollin’s work may find the narrative confusing. However, that doesn’t matter, as with all Rollin films, it resonates on a subconscious level without needing explanation. Given the subject matter, it is easy to sympathize with and root for the two girls—a recurring motif in Rollin's films—whose names are never revealed. The actresses portraying them both have compelling screen presence, particularly Lieva Lone in her only known film role. Similarly, John Rico as the deranged Captain and Joëlle Coeur, who steals the show as Tina, the most sadistic of the pirates, deliver memorable performances, culminating in a powerfully affecting finale underscored by Pierre Raph’s somber piano score. It's interesting to note that Mireille Dargent, who plays the clown in the ruins, also appeared as the graveyard clown in *The Iron Rose*. Other familiar faces from Rollin’s films are present, including Louise Dhour as a knowing prostitute named Louise and Paul Bisciglia as one of the pirates. An additional detail is that Miletic Zivomir, the actor playing the demon, served as 1st AD but was reportedly ineffective in the role; therefore, Jean-Pierre Bouyxou, Rollin’s friend and originally slated to be an extra, took over those duties. It's also worth mentioning that *The Demoniacs* marked Rollin’s first film with a decent budget, which contributed to a more expansive or grand feel. Despite the increased funding, the production was still beset by problems as detailed in the liner notes of Redemption’s remastered DVD. Nevertheless, the final product is one of the most distinctive entries in Rollin's already unique body of work and something that fans who haven’t seen it should definitely seek out, as it exemplifies his unmistakable style and versatility.

Source on TMDB