John Waters’ gloriously grotesque second feature is replete with all manner of depravity, from robbery to murder to one of cinema’s most memorably blasphemous moments. Made on a shoestring budget in Waters’ native Baltimore, with the filmmaker taking on nearly every technical task, this gleeful mockery of the peace-and-love ethos of its era features the Cavalcade of Perversion, a traveling show mounted by a troupe of misfits whose shocking proclivities are topped only by those of their leader: the glammer-than-glam, larger-than-life Divine, out for blood after discovering her lover’s affair. Starring members of Waters’ beloved regular cast, the Dreamlanders (including David Lochary, Mary Vivian Pearce, Mink Stole, Susan Lowe, Edith Massey, George Figgs, and Cookie Mueller), Multiple Maniacs is an anarchic masterwork from an artist who has doggedly tested the limits of good taste for decades.

John Waters made bad taste perversely transcendent with the forever shocking counterculture sensation Pink Flamingos, his most infamous and daring cinematic transgression. Outré diva Divine is iconic as the wanted criminal hiding out with her family of degenerates in a trailer outside Baltimore while reveling in her tabloid notoriety as the “Filthiest Person Alive.” When a pair of sociopaths (Mink Stole and David Lochary) with a habit of kidnapping women in order to impregnate them attempt to challenge her title, Divine resolves to show them and the world the true meaning of the word “filth.” Incest, cannibalism, shrimping, and film history’s most legendary gross-out ending—Waters and his merry band of Dreamlanders leave no taboo unsmashed in this gleefully subversive ode to outsiderhood, in which camp spectacle and pitch-black satire are wielded in an all-out assault on respectability.

Stafford recounts a memorable encounter at a sex club.

The wry, incisive debut feature by Cheryl Dunye gave cinema something bracingly new and groundbreaking: a vibrant representation of Black lesbian identity by a Black lesbian filmmaker. Dunye stars as Cheryl, a video-store clerk and aspiring director whose interest in forgotten Black actresses leads her to investigate an obscure 1930s performer known as the Watermelon Woman, whose story proves to have surprising resonances with Cheryl’s own life as she navigates a new relationship.

Beautifully composed landscape shots of San Francisco juxtaposed with voiceover detailing the emotional intricacies of the love affairs of a butch lesbian and the history of Golden Gate Bridge as the world's prime suicide location.

This experimental historical narrative set in a mythologized version of revolutionary Russia reimagines the story of the 1921 uprising of the Kronstadt sailors and features the largest cast of trans actors in film history. A masterful homage to Sergei Eisenstein’s BATTLESHIP POTEMKIN, MAGGOTS AND MEN also deploys stylistic innovations reminiscent of Guy Maddin and Kenneth Anger. Agitprop theater group Blue Blouse guides the viewer through the story, which is narrated by fictionalized letters written by Stepan Petrichenko, the leader of the Provisional Revolutionary Committee.