There's never been another filmmaker quite like Dusan Makavejev. Even in the 1960s, when all of cinema's steadfast rules seemed to be breaking down and artists such as Godard, Cassavetes, and Marker were dissolving the boundaries between fiction and documentary, Yugoslavia's Makavejev stood alone. His films about political and sexual liberation were revolutionary, raucous, and ribald. Across these, his wild, collage like first three films, Makavejev investigates - with a tonic mix of earnestness and whimsy - love, death, and work; the legacy of war and the absurdity of daily life in a Communist state; criminology and hypnosis; strudels and strongmen.