NECROPOLIS is an absolutely storyless film. Instead of a rhythm which spirals downwards into the deep, there is here a fluctuating movement, like the tide with its slow and constant oscillation; here you will not find a project in time, but a risk in space. By means of abstract indications, signal-fragments, a real panorama is created. End-point is beginning-point. The film becomes a trace, an uneasy series of footsteps following which everyone, looking for others, should find himself. Keeping in mind this ideology of fragments, NECROPOLIS may be considered the place of excess. History, culture, cities are the result of an uninterrupted sublimation, the effect of 'crystallized sins, of accumulating expirations.' A kind of spiritual guerrilla is therefore fought under the banner of utopia and love. The main characters are; Frankenstein, Attila, Montezuma, Heliogabalus, the Bloody Countess Barthory and the Devil. Emblematic situations such as Magic, Religion, Bourgeois warfare, have been chosen at their most poignant charge. All is reduced, never 'told.' What remains is graffiti.