Nylons 11 (2013)

Cuando el hijo de un presunto asesino hereda una "película azul" que puede ser la clave para resolver un asesinato de 50 años, se ve atrapado en un mundo prohibido de obsesión sexual. Pero cuanto más se acerca al corazón del misterio, más amenaza el pasado de llegar al presente y revelar verdades aterradoras que lo llevan al borde de la locura.

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)).

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.