Snakewoman

Barbie comes home from shopping. She takes her groceries out of the bag and unwraps a little Barbie doll. She fries up the Barbie doll and eats it.

Trouble ensues when a motorcycle gang stops in a small southern town while heading to the races at Daytona.

A woman, Nadja, searches for her sister's murderer. This search goes through differing moments of reality, or unreality, that overlap within facets of a broken-up time sense. In this emulation of film noir, the investigative structure does not create suspense; the dialectic murderer/victim does not exist. The crime is fabricated bit by bit, like the staging of a spectacle, and it is in the traditional tools of seduction (the spiked heels) that the weapons will be hidden. Ultimately, the crime Nadja achieves makes her neither a triumphant heroine nor a victim.