Producer Al Fields (The Beast and the Vixens) wrote and directed this currently unavailable 1973 soft porn film starring the sole-credited Sonny Blaze, Jacqueline Giroux from Drive In Massacre, Uschi Female Chauvinists Digard, and Charla Hall (Lemora: A Child's Tale of the Supernatural) as women caught between cops and the mob. Also with Barrett Cooper (Buford's Beach Bunnies) as a compromised politician, while Sanford The Corpse Grinders Mitchell and John Wheeler from Black Angels are dirty detectives. Soundtrack by Richard LaSalle (Diary of a Madman). Those "secret police reports" have yet to surface, nor has a print of this film.

Giulio Questi's bizarre 1968 giallo La morte ha fatto l'uovo ("Death Laid An Egg") boasted the star power of sex symbol Gina Lollobrigida (John Huston's Beat the Devil) and art film favorite Jean-Louis Trintignant from Successive Slidings of Pleasure. It also featured beauty contest winner Ewa Aulin, soon to have the starring role in a poorly received film adaptation of the once-banned sex spoof Candy. The capable cast gamely approach Questi and Franco (Last Tango in Paris) Arcalli's surreal script involving sexualized serial killings and genetically-bred headless chickens. Fans of Questi's vicious 1967 western Se sei vivo spara ("Django Kill... If You Live, Shoot!") may be confused but will not be surprised by this disjointed, ultra-kinky satire of the industrial class.

"Frothy! Naughty! Saucy!" German-born Ralph Baum (Pleasures of Paris) launched a brief directorial career with 1951's Paris Nights, a French burlesque revue with a paper-thin plot about the hunt for a missing heiress whose initials are tattooed on her hip. And where better to inspect hips than a series of strip shows? Starring now-forgotten comedy duo the Bernard Brothers as scheming American tourists, the 82 minute run time mostly includes bump 'n' grind routines from the Folies Bergére and other Parisian peel palaces with authentic French burlesque stars Yvonne Ménard, Simone Claris, and others. It's also the sole credit for "new ingenue sensation" Xenia Monty. Director Baum later settled in as production manager for Jean-Luc Godard's Weekend and other better-known films.

As in Pasolini's later Teorema, a young intruder (Søren Strømberg as "Per") challenges the stability of a bourgeois family in writer/director Knud Leif Thomsen's 1966 Venom, known in its native Denmark as Gift ("Marriage"). It's a chilly morality tale about paternal hypocrisy versus youthful nihilism, but Per's penchant for pornographic filmmaking resulted in scenes censored with large white "X" marks for its theatrical release. Thomsen's subsequent output tended towards less confrontational romantic dramas. Also with Judy Gringer from 1001 Danish Delights and Karl Stegger from John Hilbard's "Bedside" series of sex comedies. Not to be confused with the 1971 Venom, a British horror film originally issued as The Legend of Spider Forest.

The 1961 Italian black comedy Psycosissimo follows a trio of failed actors who are mistaken for hitmen and their victim by a bystander eager to hire them to dispose of his adulterous wife. Hungry for the money, the three hatch a scheme to trick the cuckold into believing that they've murdered his moonlighting mate. Their absurdly convoluted plan goes awry when it collides with an actual murder plot. With Ugo Tognazzi (Il Petomane), Raimondo Vianello (My Friend, Dr. Jekyll), and Edy Vessel from Fellini's 8 1/2 as the would-be murder victim. Singularly named director/co-writer Steno (Dr. Jekyll Likes Them Hot) specialized in comedies but was also responsible for tough-minded action films such as 1977's Double Murder.

San Antonio's Albert T. Viola (One Naked Night) wrote, directed, and stars in this variation of Elmer Gantry, swapping the grindhouse for the drive-in market and scoring bigger box office returns in the process. Viola is con man Amos Huxley, who lands in a small North Carolina town and proceeds to swindle the local rubes out of their egg money while seducing a hot-to-trot farmer's daughter (Ilene Kristen from Lewis Teague's The Lady In Red) by appearing as the virginity-restoring "Angel Leroy." Also with Bill Simpson from Moonshine Mountain and J.G. "Pat" Patterson of Body Shop infamy. The film's runaway success with southern audiences, who apparently were not troubled by Viola's depiction of them as blithering idiots, spurred a sequel, 1973's Preacherman Meets Widderwoman, in which Huxley encounters his conniving match. The original was later picked up by Troma, Inc., which gave it a splashy - and characteristically misleading - new campaign.

The 1966 French crime flick Massacre pour une orgie was so crammed with exploitable elements that Olympic International only had to hack out exposition (because: who cares?) and add terrible dubbing along with an incoherent narration track. What's left appears to be about a battle for control within a drugs 'n' prostitution mob and the gendarmes on their trail. With Jean Dumaine from Melvin Van Peebles' The Story of a Three-Day Pass, Florence Giorgetti (Marco Ferreri's  La grande bouffe), and Dany Jacquet from the French comedy A Slightly Pregnant Man. Directed by writer/filmmaker Jean-Pierre Bastid, who followed it up with the lurid Little Girls.

Exploitation kingpin William Mishkin tapped neophyte filmmaker Walter Strate to direct his script about a psycho shutterbug, played by co-producer William Holland, who's fixated on a burlesque dancer (real-life stripper Lili Dawn). Mishkin himself can be seen in the role of the strip club owner. With William Martel from Skyjacked, Lynne O'Neill (Secrets of an Undercover Model), scenes of Manhattan circa 1953, a debilitating hair fetish, and a snappy score from jazz guitarist Tony Mottola.

French filmmaker Claude Lelouch's unexpected entry into mondo territory, La femme spectacle, purports to tackle the topic of "female sexuality" in Paris and other European cities. With Jean-Pierre Kalfon from Bernardo Bertolucci's The Dreamers and Janine Magnan (Lelouch's Life Love Death) sandwiched in among the strip routines, hookers, cross-dressers, and that old roadshow standby: the birth reel. Bob Cresse's Olympic International distributed it stateside as Night Women on the heels of Lelouch's international hit A Man And A Woman, which did not feature a birth reel. Press materials offered theater owners the option of imposing a "men only" admittance policy as if dictated by some unnamed force.