Dennis Hopper's second film as director: dazzling, chaotic, indulgent. Movie stunt-man Kansas (Hopper), filming a Western in the Andes and staying on with a mini-skirted Peruvian prostitute after gruff father-figure Fuller and his crew return to Hollywood, is inextricably drawn into the peasants' own film-making ritual with wickerwork cameras but real violence (and himself as sacrificial victim). Caught within his own movie myths - prospecting for gold with only The Treasure of the Sierra Madre for guidance - Hopper's Romantic hero obstinately refuses to come to terms with the harsh exoticism of South American peasant culture. The film, too, never quite sure how the last movie should end, persistently sabotages its own resolution. But as it disintegrates, it shoots out enough ideas to fill a dozen movies.