Here it is: the John Waters movie his own parents aren’t allowed to watch! The dialogue and performances throughout Waters’ 1972 breakthrough Pink Flamingos may not crackle with as much subversive wit as its near-perfect successor Female Trouble, but Flamingos continues to earn its legs as Waters’ most offensive and most memorable picture. As Baltimore trailer-queen Divine (Divine) enters into a competition with urban white-slave breeders Raymond and Connie Marble (David Lochary and Mink Stole) for the title of Filthiest Person Alive, such acts as cannibalism, bestiality, and incestuous fellatio fill Waters’ canvas—not to mention, more famously, a single act of dog-shit eating and, more quizzically, tons of furniture-licking and meat-wearing. Sure, it’s often amateurish, mostly very disgusting, and arguably obscene—but, as Waters has pointed out, if it’s obscene then it’s joyously so. Furthermore, the more time passes, the more value Flamingos accrues as a historical record—of among other things, the changing landscape of Baltimore, the progression of Waters’ career, the evolution of underground narrative film, and the transitional years between the death of hippiedom and the birth of punk.