A juvenile delinquent gets out of the pen and immediately embarks on a rampage of untethered anger, most of it directed at the girlfriend of the journalist who helped send him up.

A light-skinned African American woman given away at birth by her mother struggles with her racial heritage and finding her place in the world.

From director Frank Henenlotter (Frankenhooker, Brain Damage) and co-producer Mike Vraney (the late founder of Something Weird Video) comes the epic documentary critics call "fascinating" (Video Watchdog), "titillating" (Time Out Los Angeles) and "jaw-dropping" (Seattle Weekly): Henenlotter and legendary exploitation monarch David F. Friedman - in his final film appearance - are your hosts for this eye-popping expedition through the world of pre-code peekaboos, stags, sex-hygiene films, goona-goonas, nudie-cuties, roughies, druggies, white-coaters and more, featuring thousands of spicy, steamy and downright sleazy clips from the SWV archives.

In a series of vignettes, a pathetic man is abused by a bitter prostitute, a sculptor and her model try to suppress their longings for each other, and a lonely middle-aged man is caught by his wife in bed with another woman.

A psychiatrist tries to brainwash a patient into killing his wife.

In this vintage nudie-horror hybrid, an all-girls' school is really a front for a bootleg liquor business run by the headmistress and her werewolf assistant.

Ignore the title. It's a great one alright, but Hollywood After Dark evokes images of movie stars, casting couches, and back-lot orgies which can be found in Starlet or The Masterpiece but not here. No, this one's about a loser in love with a stripper who gets involved with a deadly robbery. And though it ostensibly takes place on the fringes of Hollywood, except for a shot of the Hollywood sign, it could've been made in Anytown U.S.A. It's also another of director JOHN HAYES' brooding meditations on life pretending to be a sexploitation film. like its companion piece, The Rotten Apple (another Hayes! McClanahan collaboration), it can best be described as Existential Exploitation, and, like all of Hayes' films, aspires to be something smarter and more profound than just another "B'" Rue Mclanahan

A glimpse into the secret lives of beautiful lesbians with a penchant for domination and fetish wear. Angelique is a sexy doe-eyed blonde submissive whose life revolves around her cruel, black leather-clad lover, Suzanne. One day, Angelique is approached by magnificent blonde glamazon Dominique.

Desperate to become popular, a teenager turns to a life of crime in an effort to impress the prettiest - and greediest - girl in school.

"War babies. They want to be different. They don't want to belong to any mass society. They have their own-type clubs, their own 'in' groups." Thus Malamondo, an elegant look at early-Sixties' teenage angst and "way out youth," Euro-style, set to the delirious musical musings of a young ENNIO MORRICONE! "Teenage swingers" ski in the nude in the Swiss Alps! (Skinny-skiing?) At a summer resort in Italy, "the children of the post-war rich" interrupt their boredom to play Who Wants-to-Slaughter-a Pig, and quickly learn that "waste and destruction aren't so hip after all!" And students in Northern Italy race to the beach at lunch time and "let off steam" with a sea-side striptease!

A girl (Olya Yukina) finds adventure with her new friend (Tanya Yukina) after looking into a magic mirror.

Small-town residents pray for a miracle after a newly baptized woman is accidentally shot by her sinful husband.

Under the influence of a gangster, a group of impressionable teenage girls agree to commit robberies and prostitute themselves for drugs.

Peter Falk's first film! And not a bad one at that. The whole opening scene features free-form prose set to a bongo beat -- then long-gone Nico (Falk) gets hungry for kicks and kills some kid by feeding him a hamburger filled with ground glass. And the plot takes off from there. The ads said "A Motion Picture That Peels Off the Dirty Sweaters Covering the Raw Emotions of Youth!" It's a bongo-blastin', beat generation bloodbath.

Reminiscent at times of Russ Meyer during his black & white drive-in period, crossed with a smattering of vintage Herschell Gordon Lewis-styled histrionics, Shanty Tramp is one of those films which makes it such a joy to be a fan of Sixties exploitation sleaze. Indeed, the film remains a virtual primer of exploitation requirements, and has retained its power to fascinate, repel, and excite.

A Hollywood producer tries to seduce a young nightclub singer with promises of movie stardom while a club patron receives a foreboding note.

Three people on their way to a Dodger game pull over because of some car trouble and find themselves faced with a psychopath and his girlfriend.

A crime wave grips a city and all clues seem to lead to the nefarious Dr. Mabuse.