This one’s for the celluloid anarchists and the boutique brain-melters. Outer Order Video doesn’t care about your rules, and neither do these two films. This double feature hits like a Molotov cocktail in a crystal ashtray—exploding aesthetic boundaries, capitalist nightmares, and narrative logic all in one gloriously unhinged sitting.
Daisies (1966)
Věra Chytilová’s Daisies is less a movie and more a cinematic act of civil disobedience. Two young women named Marie—equal parts clowns, witches, and revolutionaries—decide that the world is spoiled, so they’ll be spoiled too. What follows is a surreal riot of color, collage, and chaos. It’s a punk protest disguised as a candy-colored prank.
Montage is weaponized. Food is defiled. Men are manipulated, mocked, and tossed aside like meat trays at a surrealist banquet. It’s feminism without slogans, rebellion without speeches—just a glorious, bratty rejection of structure, patriarchy, and seriousness itself. And yes, it got banned. Of course it did.
Watching Daisies is like watching Godard get taken to art school and whipped with a flower.
Death Laid an Egg (1968)
Giulio Questi’s Death Laid an Egg takes the giallo format and mutates it until it’s practically sci-fi. Think corporate thriller meets avant-garde poultry horror. Jean-Louis Trintignant plays a man running a futuristic chicken farm while being haunted by decapitation fantasies, marketing pressure, and increasingly bizarre romantic entanglements.
There are mannequins. Mutant boneless chickens. Advertising neurosis. And an editing style that feels like Godard got locked in a slaughterhouse with Vertov. It’s not a whodunit—it’s a what-is-any-of-this. The soundtrack alone is a panic attack.
If Daisies is anarchist joy, Death Laid an Egg is capitalist nausea. Both are screaming through different aesthetic masks.
The Pairing
Outer Order really did it with this one: two films that detonate convention from opposite angles. Daisies destroys from below, like an anti-bourgeois grenade tossed from a picnic table. Death Laid an Egg implodes from above, corporate structures collapsing under the weight of their own surreal grotesquery.
Both films are about systems: how they trap us, define us, and eventually make us crack. Together, they offer no escape—just brilliant, disorienting revolt.
Final Verdict:
10/10 – A double feature that doesn’t just break the rules—it dances on their graves while laughing and throwing lettuce. Art as sabotage, cinema as rebellion.
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