if a respected "legit" director made an explicit adult film? That question has been answered many times 
over now thanks to filmmakers like Catherine Breillat, Gaspar Noé, Lars von Trier, Nagisa Oshima, Leos Carax, and Michael Winterbottom, among others. However, in 1975 it was still more or less a theoretical idea when French filmmaker Paul Vecchiali embarked on his stylish and almost unclassifiable Change pas de main, whose title is translated for its 2024 U.S. Blu-ray debut as Don't Change Hands (but also has at least two more pun meanings as Don't Change Tomorrow when you remove the last space in there). A mixture of film noir, high-toned art film, musical, and meta-pornography, this was a daring proposition from the director of the acclaimed The Strangler and Femmes Femmes as well as later major works like Once More and Rose la rose, fille publique. Essentially forgotten for several years, Don't Change Hands grabbed some attention on the gray market when fan-subbed versions working off the French VHS and DVD releases started turning up. There had never been anything quite like this before, and given how startling it still is today, there hasn't been since either. 
murder attempts, bisexual shenanigans, the sexually ambivalent Alain (Emily in Paris' Bouvet) who has more than a few surprises up his sleeve, and a climactic sex party crawling chase that has to be seen to be believed. 
and visually intoxicating, Vecchialli's film is obviously a progression from the Fassbinder and classic Hollywood aesthetics he'd used in Femmes Femmes but here layers a tangled crime story into a dissection of the porno chic craze that was taking over French theaters at the time. This is about as far from raincoat crowd fare as you can get, with the sex definitely serving as an essential and aesthetically wild part of the story. On top of that you get some gorgeously shot stage performances and a small but fun role for none other than Jess Franco mascot Howard Vernon. 
and the contrast between the director's lifestyle and his views on sex films. In 
"Elsewhere Man" (27m42s), author Matthieu Orléan extrapolates more on Vecchiali, his own film production company, his possible views on pornography, and the impact he had in cineaste circles despite not being as famous as peers like Truffaut. In "Noir D'Amour" (24m), screenwriter Noël Simsolo recalls meeting Vecchiali in the '60s due to similar cinematic tastes, their crafty collaborative process to get state subsidies, and the idea exchange that gave birth to this film. "A Remedy for Chaos" (18m45s) features Mézières herself talking about getting her first big break with Jean-Pierre Mocky on the great No Pockets in a Shroud, her deep attraction to show business, being cast in this film at Simsolo's suggestion, using Humphrey Bogart as the inspiration for her wardrobe, her giddiness at shooting that insane climax, and later working with Andrzej Zulawski. Finally in "The Prodigal Son" (11m31s), actor Jean-Christophe Bouvet gives a great look back at how he got into the business through André Téchiné, his insistence on getting naked in his movies, his desire to become a director, the sexual freedom in the air after 1968, and his own perception of his character's psychology. Finally the disc wraps up with a new U.S. trailer edited by Nathan Boone.