<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Supervixens - vo.rs</title><link>https://vo.rs/tags/supervixens/</link><description>Latest from the Supervixens desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Fri, 15 Nov 2024 11:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/supervixens/" rel="self" type="application/rss+xml"/><item><title>Supervixens: Meyer's Cartoon Excess at Full Throttle</title><link>https://vo.rs/screen/supervixens-meyers-cartoon-excess-at-full-throttle/</link><description>&lt;p&gt;By 1975 Russ Meyer had nothing left to prove about commerce and everything left to prove about how far he could push his own style before it broke. &lt;em&gt;Supervixens&lt;/em&gt; is the answer, and it is Meyer at his most Meyer — the fastest cutting, the broadest caricature, the most cartoonish landscape of impossibly proportioned women and cretinous men, all of it running at a pitch that never once drops below hysterical. I want to look at it as film history and as craft, because the film is instructive precisely at the point where its cartoon logic collides with something genuinely nasty, and that collision is the most interesting problem in Meyer&amp;rsquo;s whole catalogue.&lt;/p&gt;</description><pubDate>Fri, 15 Nov 2024 11:00:00 +0000</pubDate></item></channel></rss>