The Davids learned several core values from John Waters films growing up. Female Trouble was perhaps the most instructive at least in what Edith Massey's character imparted.

https://www.tumblr.com/thedavidspod/774075637554135040

Hey CultCinema! Apologies in advance if this violates any sub rules, but I recently produced my first feature film, a stoner comedy and 2007 emo period piece called RATS! We've been called "a guaranteed cult classic in the making," "a renegade underground comedy with the spirit of Repo Man[...] made today by filmmakers weaned on Super Troopers and Tim and Eric" and compared to filmmakers like John Waters (: The trailer dropped yesterday, so I wanted to share with y'all! Hope you like it (: https://collider.com/rats-comedy-movie-trailer/

Hi. So I just wanted to ask, I see that there is supposedly both an r rated version and unrated version of The Killer Eye (1999) floating out there, but I can't find anything about any differences. Does anyone know what the deal is here?

Blaxploitation is a film subgenre of action and exploitation films that emerged in the early 1970s, characterized by its focus on African American protagonists, urban settings, and themes of empowerment, resistance, and social justice. The term itself is a portmanteau of “black” and “exploitation,” coined by critics who viewed these films as exploiting black culture and audiences for profit. However, despite the controversy surrounding the label, blaxploitation films played a vital role in providing visibility to African American actors, filmmakers, and stories in Hollywood at a time when such representation was scarce.

Development of the Blaxploitation

Blaxploitation cinema finds its origins in the socio-political climate of the 1960s, a decade marked by the Civil Rights Movement and increasing calls for racial equality in America. As African Americans demanded greater representation in media, Hollywood began to take notice of the untapped potential of black audiences. During this time, a few films featuring black leads, such as “The Defiant Ones” (1958) and “Guess Who’s Coming to Dinner” (1967), laid the groundwork for more inclusive films. However, these films often catered to white audiences and lacked the cultural authenticity.

The turning point came with the release of “Sweet Sweetback’s Baadasssss Song” (1971) by Melvin Van Peebles. This low-budget, independently produced film was unapologetically black in its perspective and aesthetic, telling the story of a black man’s escape from a corrupt justice system. Its commercial success, particularly among African American audiences, demonstrated the viability of black-centered narratives and paved the way for Hollywood to embrace the Blaxploitation genre.

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