This gritty, psychedelic Hitchcockian mystery, which is notable for being the first Dutch film shot in English-language, starts in a savagely brutal fashion. When a bloody painting of Vincent van Gogh falls from a wall and exposes a makeshift peephole, student protagonist Nils Janssen (played by the film’s German co-producer Dieter Geissler) becomes an unwitting witness to a gruesome sex crime next door. When his young fiancée Marina (Alexandra Stewart of Truffaut’s DAY FOR NIGHT), an enterprising journalist, tells him about a report of a murder that she is writing, he naturally wonders if it’s the very same killing.

Four hundred years ago, a talented man was ordered to commit peach blossom. One night, he had a fantastic dream.

Two women attend a party in a barn, where they meet Mr. Bradley, a strange middle-aged man with a British accent. He saves one of them from an attempted rape in a hayloft, so she introduces him to her friend Terry. After chatting a while, he leaves and drains the gas from their car. Finding their gas tank empty, Ann and Terry walk until they come to Bradley's isolated house, where he lives with his sister Myla and a servant named Freddy. It turns out that Bradley is actually an insane mortician and that he have certain plans with his guests.

Franek is a talented art forger and painter who along with his loyal assistant Hazel - herself a talented artist - are commisioned by a glamorous madam to produce a piece for her brothel to hopefully drum up more business.

College student Becky Bartolucci earns a living as a dancer at a nightclub. It's just a way for her to pay for her degree until one day, an obsessive customer reminds her how dangerous her job can be.

Bored farmer's daughter sets out to make it in the big city. She gets mixed up with freaks, perverts and degenerates and winds up a stripper in New Orleans.

American folklore goes nutty and smutty with Frankie and Johnnie… Were Lovers, and, "Oh Lordy, how they could love!" Especially since Frankie is played by everyone's favorite pouty-cheeked sex starlet, RENE BOND, and Johnnie is her frequent co-star and then-paramour, RIC LUTZE. As the trailer proclaims, "Lovers in real life, they give the performances of their careers!"

Loser Charlie Wishnick, locked out of his trailer home by his awful wife, ends up in a time machine that's disguised as a taxicab. Transported to 50,000 B.C., Charlie meets cavemen and cavewomen, many of which are often nude. He falls in love and is almost eaten by a giant.

Stripper Blaze Starr, playing herself, drives her agent–who is also her fiancé–to distraction by ignoring scheduled "press functions" and spending her weekends at a nudist camp.

The budding sexual urges of young women cause themselves and others trouble.

A sensitive girl (who even cries for wrecked cars being taken to the junkyard) falls for a pickpocket, after meeting him in a café. After the man gets arrested shortly thereafter, she hooks up first with his ex-girlfriend and then a guy who spent time in jail with him. In the process she becomes initiated into a world of petty theft even as the cops close in on the gang.

When a male birth-control pill accidentally sterilizes the male population, the birth rate drops to zero and the President of the U.S. orders the CIA to scour the globe for potent males. Five are found who have yet to take the pill - a Japanese doper, a Peruvian sheep herder, a Russian prisoner, a San Francisco drag queen, and an Afro-American anthropology student who is busy boiling fat gals for the local cannibals - each of whom is codenamed The Dicktator and promptly ordered to impregnate the horniest of the world's women.

Pamela jets away with six international models to the South Pacific island of Bora Bora where the action is fast and the temperature sizzlingly hot. Pamela Anderson with the Girls Of Edenquest guarantees to reach the parts that other programmes rarely reach!

Riffing off the title of his first feature ('I Stand Alone') - an eloquent cinematic narrative about despair, loneliness and one man's abandonment to pathologies of societal decay - 'We Fuck Alone' is a dark odyssey into violent masturbatory fantasy. Like most of Noé's film, 'We Fuck Alone' suggests an altered state. Provoking a perceptual and visceral reaction to both what is seen and the way it is shown, we are drawn into a solitary self-referential world of simultaneous seduction and repulsion. Here, sex, beauty and violence combine to create a mesmeric and unforgettable landscae entirely on its own.

Dusty Cole leaves her boyfriend and becomes a prostitute. Among her customers are Jimmie, an abusive man who beats her, and Bob, who promises to help her find a better kind of life.