Leo the Last

Boorman's brief return to Britain, after Point Blank and Hell in the Pacific and before Deliverance, produced this calculatedly bizarre art movie that won him the best director award at Cannes and met with zero commercial success. A surreal vision of Notting Hill culture clash, between Mastroianni's reclusive, convalescent aristocrat and his variously deprived neighbours, it takes place in some impossible overground extension of Turner's basement from Performance, and yet assumes the visual and intellectual contours of a down-to-earth, contemporary Zardoz, by turns insightful and infuriating as it intervenes in 'social problem' areas armed only with precarious fantasy.