Dedicated fans adore the impetuous, punkish spontaneity of his work, but sceptics, for the same reason, find him hard to take seriously. Franco shot his films in a whirlwind of impulse, like a cartoon Tasmanian Devil with a movie camera, and the results veer from controlled chaos to devil-may-care randomness. Many of his most astonishing films bear hallmarks that would appal the sober-minded student of classical film style. But while perfect craft may have fallen by the wayside, Franco’s breakneck speed unleashes a blizzard of extraordinary sensations and images. There’s something truly otherworldly about his films: they give us precious glimpses of a stranger, more delirious reality. Jess Franco was, if you like, the anti-Kubrick — impulsive, impatient, always in a hurry — but he shared with the master procrastinator one special quality; a cinematic vision as distinct and unique as a retinal photograph.