Hôtel des Invalides was his favorite of his three "slaughter" films. With Head Against the Wall (French: La tête contre les murs) in 1958, Franju turned toward fiction feature films. His second feature was the horror film Eyes Without a Face (French: Les Yeux sans Visage) about a surgeon who tries to repair his daughter's ruined face by grafting on to it the faces of beautiful women. His 1963 film Judex was a tribute to the silent film serials Judex and Fantomas. In Franju's later years his film work became less frequent. Franju occasionally directed for television and in the late seventies he retired from filmmaking to preside over the Cinématheque Française. Georges Franju died on 5 November 1987. Film style In her study of French cinema since the French new wave, Claire Clouzot described Franju's film style as "a poignant fantastic realism inherited from surrealism and Jean Painlevé science cinema, and influenced by the expressionism of Lang and Murnau". Franju's focus was on the visual aspect of filmmaking, which he claimed marked a director as an auteur. Franju claimed to "not have the story writing gift" and was focused on what he described as the "putting into form" of the film. Franju used elements of surrealism and shock horror within his films in order to "awaken" his audience. Franju had a long history of friendship with well-known surrealists including André Breton, and the influence of this movement is extremely evident in his works. Franju uses these elements to link horror, history, and an ironic commentary on modernity’s ideal of progress. Franju is quoted as having said "It’s the bad combination, it’s the wrong synthesis, constantly being made by the eye as it looks around, that stops us from seeing everything as strange." Throughout his documentary Le Sang des bêtes, for example, Franju reminds the audience just how strange everyday life can be. The opening sequence of the film presents the modern age as a "dream land" in which there is a need for some sort of awakening; Franju’s awakening comes through historical knowledge. Surrealist depictions of strange mannequins on the city’s edge are reminiscent of the bodies of the men wounded in war. Walter Benjamin argued that surrealism must "disturb capitalist culture’s mythic assumptions of a rationalized evolving history” which is done by provoking a simultaneous interpretation of the past and the present. This, as Benjamin argues, relies on