Keyword Nylons

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.

In a dilapidated rural mansion, the last generation of the degenerate, inbred Merrye family lives with the inherited curse of a disease that causes them to mentally regress from the age of 10 or so on as they physically develop. The family chauffeur looks out for them and covers up their indiscretions. Trouble comes when greedy distant relatives and their lawyer arrive to dispossess the family of its home.

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.

The all-girl school foil an attempt by train robbers to recover two and a half million pounds hidden in their school.

A "Peeping Tom" likes to look through windows at women undressing. We see him as he sneaks a peek at two subjects. The first, a woman dressed in lingerie, is young, shapely and attractive. The second, to be charitable, isn't. That doesn't stop him, and the viewer, from getting an eyeful.

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)).