F is for Faster, Pussycat! Kill! Kill! (Russ Meyer, 1965)
FASTER PUSSYCAT, KILL! KILL! is the story of [a] new breed of SUPERWOMEN emerging out of the ruthlessness of our times. We are introduced to three buxom Go-Go girls: VARLA, ROSIE, and BILLIE, wildly dancing the Watusi before the leers, jeers and lecherous come-ons of their drooling all-male audience. The violence, implicit in the girls’ tease, is quickly moved out of the microcosmic bar into the outside world as they literally let go of themselves, embarking on a wild, violent, deadly journey of vengeance on all men. VARLA, the outrageously abundant KARATE MASTER leader of the pack, breaks the arms and back of one man, runs her Porsche over two others, grinds a fourth, a muscleman, against a a wall and eventually, deliberately goes down the path of her own self-destruction, dragging her two buxotic cohorts along with her.
– Faster, Pussycat! Kill! Kill! press kit
Perhaps it is the sincere irreverence of the whole endeavor – the sense that all involved (actors, director, spectators) know exactly that what they are dealing with is ironic, yet continue to nevertheless to believe in “the lie that tells the truth” and all without a trace of either condescension or naitvité – that makes FASTER PUSSYCAT, KILL! KILL! in the words of the likes of John Waters, no less, “Beyond a doubt, the best movie ever made.”
– Mark Betz, “Camping in the Movies of Russ Meyer: Some Notes in Passing”, Gerbil: A Queer Culture Zine no. 9
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F is also for Fluff (William E. Jones, 1999)
Watch it here – not suitable for weurghk, without headphones
Fluff is at once a tribute to abstract video art and an affectionate send-up of the promotional language of 1970s gay porno flicks. As in the opening sequence of Faster, Pussycat! Kill! Kill!, a gravelly, almost satanic, voice-over modulates simple black and white patterns. The narrator speaks more and more quickly until the piece becomes a frenzy of overwrought prose and bracing disco music.
– William E. Jones
F is also for Fear Eats the Soul (Rainer Werner Fassbinder, 1974), Fireworks (Kenneth Anger, 1947), Flesh (Paul Morrissey, 1968) Frenzy (Alfred Hitchcock, 1972), and – Tom’s right – First Blood (Ted Kotcheff, 1982)