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  • 3.8
Memorably described by Ernest Callenbach as "one long raucous belch in the face of the American home," Gunvor Nelson and Dorothy Wiley's montage remains a bracing analysis of misogyny's governing dialectic of idealization and disgust. With acid wit, the filmmakers link the detritus of popular culture (magazine cutouts, beauty pageant telecasts) to the literal waste products of body and home. Staged as a kind of purification ritual, SCHMEERGUNTZ's go-for-broke embrace of abjection anticipates subsequent developments in punk and feminism. - Max Goldberg

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Member Reviews (1)

Some Stan Vanderbeek animation elements, though more personal. I enjoyed it for it's visual and sound artistry, added to it's strong thematic explorations.