As always, LaBruce splices genre, spiking his parody with soft- and hardcore interludes, insert shots of actual insertion. The tone is deliberately, fascinatingly unmoored, listing from earnest melodrama (what will Isolde do with that man in the basement!) to jubilant exploitation (alone together, the young women pillow fight) to conspiracy thriller (the headmistress is definitely up to something) to goofy horror (that surgery!) to mock propaganda (an orgy is interrupted for an urgent communique) to dead-serious survey of the terrors that might actually turn these young women toward organized misandry. The performances, as per LaBruce’s other films, alternate between commandingly comic and touchingly stiff; the explicit or nude scenes play like collaborative celebrations of the cast rather than true exploitation.
LaBruce has set this femme reverie in 1999, in the country of “Ger(