For the 25th anniversary of Curtas we go back to a film that Clémenti filmed when he was 25 years old. The first version of this manifesto was called "Psychedelic" (1967) because of the freedom of its imagery and only in 1975, in a 44-minute-long version, was it named "Visa de Censure nº X", with added soundtrack by the progressive, cosmic rock’n’roll band Clearlight Symphony. The kaleidoscope opened by this film goes against the tide of forbidden films. Celebration is in a hurry, it’s mystical and in full color. Trance is improvised between drugs and sex, nudity and the origins, sacred and worldly. Behold psychedelic made into a film, intoxication of successive layers. Behold pure underground, that frenetically radical image, unknown to codes, moved by hands that film life like someone getting hold of its rhythm. All around, traces of the throbbing freedom of the counterculture that anticipates May of 68, an energy that Clémenti’s young camera was to testify on the spot. The editing is like the speedy beat of hallucination. This multi-tonal magic is capable of everything and sets a revolution on: eyes wide open to dreams with every possible caption. If we immediately remember Clémenti the actor, diabolic face of Christ, Buñuel’s, Pasolini’s, César Monteiro’s, Visconti’s or Garrel’s token, there is still an infinite number of journeys to travel with the enormous illuminations of Clémenti the filmmaker, exuberant animal of the spheres. (Sabrina D. Marques)