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The sexploitation film's thin plots and lurid titles stand in as excuses to get as many women naked as possible in as little time as possible. While the subgenre flourished in Europe, and even achieved a sort of artistic credential in films by directors like Jesus Franco, in puritan America, the erotic thriller and slasher films had to stand in for the audience demand to see naked bodies. There are a few exceptions, and again, there are even those like Russ Meyer, who have ascended to a cult status for their trashy but often pointed films. Faster Pussycat Kill Kill and Lorna are examples of Meyer's obsession with huge breasts, but also of his abiding satirical bent and indebtedness to melodramatic conventions. Meyer's films never take themselves too seriously; they know what they are, and that is part of the fun -- getting to see the naked women but not feeling as guilty because it all could just be a big joke. The films of Franco, on the other hand, delve more into deviant sex (as in Justine), but the same basic principles apply: get enough nudity and sex in, and there is always room for a little playfulness or innovation.