影片整体上是一部喜剧，充满了无数男性试图吸引各种女性的桥段。大多数时候，我们看到这些男性追逐着女性，自取其辱；其他时候，他们则在互相打闹、争吵或做各种其他事情。

When a production company starts shooting a horror film in a 100 year old...and actually haunted...Sid Grauman built movie palace turned strip club in San Francisco, the 'inhabitants' revolt and take over the movie for their own purposes with bizarre and shocking results. The G-string Horror has been described by one blogger as 'an independent, European-style surrealist film with great horror exploitation values'. 'Magical realism meets cinema verite meets George Romero', said another. A disclaimer before the main titles warns that...'Parts of the film...may induce unpredictable paranormal states

有足够的乐趣与“发现影片”恐怖片？看看Demon切*…第一恐怖电影已经重新由无形的实体和影子的存在，这部电影是关于编辑！ 首先是丁字裤的恐怖，在这一个制作公司拍摄在三藩市场街的电影院看恐怖电影，一个100岁的电影宫变成了脱衣舞俱乐部，是由“令人震惊的结果居民袭击。 然后…所有的地狱真的破散…裤恐怖鬼冒险电视剧剧组扰乱正常的日常“生活”这些鬼魂喜欢在脱衣舞俱乐部太多次了，和鬼影子人风暴编辑套件。他们怪异而令人不安的*砍*是结果。

The Girls of Kamare (Les Filles de Kamare) (1974) is a Situationist film by René Viénet. Unlike Viénet's previous work, Can dialectics break bricks? (1973), The Girls of Kamare includes original 16 mm hardcore inserts shot by Viénet. The film is the detournement of the Tōei sukeban film Terrifying Girls' High School: Lynch Law Classroom (1972) directed by Norifumi Suzuki. The title of the original film is given as Une petite culotte pour l'été, director credited as "Suzuki Noribumi". Opening credits are taken from the 1973 film Female Yakuza Tale: Inquisition and Torture of Teruo Ishii. While Can dialectics break bricks? was essentially a dub parody, the film keeps the original Japanese sound track with indelicate French subtitles. The plot follows a team of female heroes, forced into a disciplinary school, who revolt against the authorities and their assistants. The original Japanese film ends in a successful riot which plays directly into Viénet's detournement. Unlike Dialectics, The Girls of Kamare is less self-critical and relies more on traditional conceptions of heroism.

白いひも編 第11話「かくれんぼ」（主演：ともさかりえ、監督：土井裕泰） 第15話「死神」（主演：竹山奈歩、監督：太田隆文） 第16話「スクープ」（主演：弓削智久、監督：太田隆文） 第5話「たけしくん」（主演：ともさかりえ、監督：森山享） 第32話「板人形」（主演：岡本光太郎、すほうれいこ、監督：森山享） 第18話「壁を叩く音」（主演：藤村ちか、監督：佐々木浩久） 第17話「白いひも」（主演：ともさかりえ、監督：森山享）

海蒂-霍桑（雪莉-穆恩-赞比 饰演）是当地电台深夜音乐节目的主持人，总在到处寻找有才华的音乐新人。平日里，她住在一栋三层的公寓楼中，女房东蕾斯-多莉…

A beautiful woman suspected of being a jewel thief is actually a detective tracking down a ring of bond thieves.

Jane Fonda narrates the story of the years between the ascent of talkies until late in 1934, when the Hays Office cracked down on what it perceived as immorality in Hollywood movies. The emphasis is on how women were portrayed, and focuses on how they were much more liberated and equal (or superior) to men, until 1935 when they once again took subservient roles to their male co-stars.

九岁的东正教犹太女孩埃特尔（Etel）迎来了她人生中的第一次经期。她的母亲米丽娅姆（Miriam）终于把她当作一个女人看待。埃特尔为此兴奋不已，直到她了解到在她所信奉的宗教里，女性经期时是不洁净的。