The usual nervy Roeg cross-cutting has almost vanished in favour of a cleaner but just as distanced narrative, in two plain parts: a prospector (Hackman) in Canada in the '20s finally strikes it lucky, engulfed in a river of gold; and then the rest of his life, immured in his house ('Eureka') in the Bahamas and wondering what on earth there is left. While the weight of Roeg's success is usually stylistic, this is more of a harkback to the cosmic scale of The Man Who Fell to Earth, with enormous themes streaming through a strange tale. Alongside the bass-line of a man who 'once had it all, and now just owns everything', there are games of knowledge and power (voodoo, cabbalahs, magick), a devouring relationship with his daughter (Russell), and a nebulous running battle with business competitors who want their own share of the planet. The man who raped the earth and lost his demon is finally the victim of 'business interests' in the same way that Jagger was in Performance. It's a great, Kane-like notion - the price we pay for gaining what we want - and overflowing with awkward ideas and strange emotion. CPea.