Hell on the Beach (1966)

"For...L'enfer sur la plage (Hell on the Beach; 1965), Benazeraf returned to the B-thriller style of L'eternite...Both films were successful, and both featured the expected Benazeraf mix of action, pretty girls and bare flesh that had already become his trade mark. But another, slightly more worrying, trait was also in evidence. As Cahiers du cinema noted, it was impossible to make any sense of the stories. Daylight shots appeared in the middle of sequences filmed at night; the dialogue often seemed unrelated to the action; establishing shots were done away with; long scenes filmed in single take replaced any conventional montage. The wilfulness that had always been present now took centre stage. But still there was a power and presence there and a determination to film, come what may. Even without a story, without dialogue and with no idea of where he was going Benazeraf loaded his camera and began to shoot. 'With all the stubborness and dignity of an angler in the middle of the desert.'
At the end of L'enfer sur la plage, Benazeraf gives his own view: 'Don't be deceived by appearances. Nothing happened by accident. Everything has been worked out, planned, premeditated...,' he says, as the camera moves through a darkened apartment." (from Immoral Tales: European Sex and Horror Movies 1956-1984 by Cathal Tohill and Pete Tombs, St. Martin's Griffin Press, New York, 1995)