A Lizard in a Woman's Skin

Fulci does psychedelia. A politician's daughter dreams of murdering her hedonistic neighbour and wakes to find the woman really dead, and the film spends its length unsure whether the dreams are memory, guilt or frame-up. The hallucination sequences are extraordinary, all fractured light and bodies.

It caused Fulci genuine legal trouble: a scene of vivisected dogs was so convincing that he was prosecuted until the special-effects artist produced the props in court. The London setting and the swirling Morricone score give it a specific early-70s haze.

Gorgeous, disorienting, and one of the strangest entries in the cycle.