Othenin-Girard creates some occasionally worthwhile images – photos that come to life and beckon, Lilith’s appearance to hero Linden Ashby spitting an Alien (1979)-like snake out of her mouth. The best sequence is a trip into Hell filled with sweaty rutting bodies, people kissing who turn to reveal their faces stuck together, a woman who lifts her breasts to reveal they are living heads, severed heads kissing and so on. But upon every occasion Othenin-Girard overplays the effect and it becomes heavy-handed. Othenin-Girard also fails to generate much in the way of genuine eroticism, at most a sort of torridness, achieved largely through the use of coloured lighting. Isa Andersen makes a fairly sizzling presence but the performance she gives is arch.

The film is notable for its use of the very interesting mythological character of Lilith, who according to Judaic lore was the wife of Adam before Eve. But, despite the use of a credited adviser on the subject, the film fails to use her for anything other than routine horror ends. She remains a far more intriguing character than the film here is capable of conveying.