Jean Rollin is one of those filmmakers to understand something about his films must be seen several times. Sober, drunk. Smoked or as lucid as possible, like in the morning at 10.30. And it is not sure that after all these attempts you can understand something. Cryptic. Poetic. Cryptic. Poetic.
When "Perdues dans New York" comes in our hands, we relaxed, because this movie lasts only 52 ', so (theoretically) with less scenes and things to analyse and understand.
Instead, this film condenses a lot of enigmatic moments, thoughts and analysis of the soul without counting all the great introspective of Rollin himself.
Tough to see and badly develop "Perdues dans New York" is a film that has a certain charm and certainly a great appeal to those who appreciate the film of this particular French director. A must see if you want to analyze his cinematography.
As we have often seen in previous work, it born by chance and is done with a poor budget. A director's friend needed for a television series some scenes set in New York. Rollin leaves with the indispensable and shoots scenes on an improvised idea. He returns home and around builds the rest of history. A story that, like "Lips of Blood" and especially "Iron Rose", tells us about the past that comes back or never leaves us. A story that is killed by a poor play and as a very minimal production.

"Perdues Dans New York," said the same director, is an anthology of all the ideas of the previous movies (and yes, there is also a vampire) and at the same time the end of a cycle and the beginning of another.
The story tells of two girls who find a magic statuette and travel over time. They find themselves and are lost in New York, and for much of the story, we witness the "research", told by a narrator.
A difficult film in short that has had a very difficult distribution. We are in 1991 and the cinema as we know went in another direction.