GIRL SLAVES OF MORGANA LE FAY is a calmly paced but compelling piece of erotic horror for the arthouse. It’s a beautiful movie, to kick off with its surface aesthetics. On that count alone, it warrants praise. The setting and creative camera use of said setting, plus the elegant but not ornate costuming - paralleling the quiet but riveting nature of the film - make this a work of art strictly in terms of visual construction. But beyond that, the film’s tale, though simple, is gripping. It’s an old idea, but powerful, and well employed herein. Two women on a drive take a detour not to the Twilight Zone, but to the mystical realm of Morgana Le Fay, the original wicked witch, infamous relative of King Arthur. Of course, GIRL SLAVES OF MORGANA LE FAY isn’t interested in the Arthurian cycle, only the immediate idea of Morgana Le Fay. I don’t know how much of this story is drawn from legend and how much is reinvention by the filmmaker, Bruno Gatillon, but it doesn’t matter. Morgana is a daunting, alluring and fearful character, and a worthy antagonist for this tale of dilemma: immortality in thrall to Morgana or freedom doomed to die? The film is peopled with a few great side characters, particularly the dwarf or hunchback or whatever and the three henchwomen (?) who serve at Morgana’s side. Then there are, of course, our two lost souls, the girls on a drive who made a left turn at the intersection of real and fantasy. Their character arcs are complementary but vastly different. This one’s a solid film all the way around: brilliant cinematography, artful erotica, psychospiritual horror that chills the gut, philosophical thoughtfulness, lucid direction and a knack for beautiful simplicity. GIRL SLAVES OF MORGANA LE FAY is both enchanting and ominous, a mix of beauty and fear - exactly what you expect from quality erotic horror.