Three tales of very different women using their sexuality as a means to getting what they want.

When the son of an alleged killer inherits a "blue movie" that may be the key to solving a 50 year old murder, he finds himself drawn into a forbidden world of sexual obsession. But the closer he gets to the heart of the mystery, the more the past threatens to reach out into the present and reveal terrifying truths that lead him to the brink of madness.

A caretaker devotes himself to three demented siblings after their father's death. But then money-hungry relatives show up to usurp their inheritance. Preserved by the Academy Film Archive in 2013.

After one member of their group is murdered, the performers at a burlesque house must work together to find out who the killer is before they strike again.

A company's stockholders hold their meeting at a lonely mansion. A mad doctor conducting experiments in the mansion starts to strangle them one at a time with a nylon noose. The survivors must figure out a way to stop him.

The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).