Vinegar Syndrome's Lost Picture Show

Vinegar Syndrome was founded on the principle of finding and restoring the rarest, weirdest, and often lost works of genre cinema. To celebrate ten whole years of incredible exploitation cinema preservation, we proudly present THE LOST PICTURE SHOW - a ten film collection of some of the most incredible and incredibly strange pieces of genre cinema you've never been able to see, all restored from the best known and surviving elements!

A notorious mindfuck of underground cinema meets sexploitation which won equal praise and condemnation at the time of its release, Walter Burns’ BARBARA (1970) chronicles one raucous summer on Fire Island where anything goes and everyone does it!

One of the earliest proto-slashers, director William Collins and writer/producer Oliver Drake’s THE LAS VEGAS STRANGLER (1968, aka No Tears for the Damned) chronicles the life of murderous psychotic, Jeff Murray whose perverted mother obsession leads him on a blood-soaked rampage across the glitter of sin city.

A true maverick auteur who wrote, directed, photographed, and often appeared in his own work, Titus Moede’s landmark docudrama on the rise and fall of hobo culture, THE LAST OF THE AMERICAN HOBOES (1971) is a delirious and earnest tribute to a forgotten facet of Americana.

Considered by many to be amongst the holy grails of lost exploitation cinema, Charles Nizet’s delirious mix of sex and violence, THE SEX SERUM OF DR BLAKE (1970; subsequently re-edited and re-released as Voodoo Heartbeat in 1972) piles on heart-ripping orgies, blood drinking, boat chases, and much more.

A lost film itself made from an unfinished film, Carlos Tobalina and Bill Cable’s sexy saga of moral pondering, WHAT’S LOVE (1987) combines footage from Cable's unfinished early 70s epic titled "What is Love," with a newly shot second half, with Cable playing a reincarnation of his earlier character alongside Sharon Kelly and Ginger Lynn!

A forgotten treat from New York’s intersection of homespun horror and nudie cinema, Larry Crane’s T&A-filled whodunit, BEWARE THE BLACK WIDOW (1968) offers a tantalizing, giallo-esque mystery enhanced with copious nudity and plentiful 60s location photography.

Long considered one of acclaimed erotic filmmaker Joe Sarno’s most important, yet lost, films, DEEP INSIDE (1968) is a stirring coastal character drama anchored by one of Sarno’s finest screenplays.

An almost impossible to describe “kiddie” musical, shot in Malaysia by veteran sexploitation director Donn Greer (101 Acts of Love), THE RARE BLUE APES OF CANNIBAL ISLE (1974) offers a jaw-dropping barrage of singing crocodiles and monkeys, deadly and psychedelic booby traps, barren hellscapes, and a lovable duck named Mr. Quack Quack…We guarantee you’ve never seen anything like it.

A vanity-project-cum-nuclear- holocaust-scare-film made apparently for altruistic reasons by a middle-aged optometrist from Cape Cod, RED MIDNIGHT (1966) is simultaneously an incredibly ambitious treatise on the potential danger of over-crowded urban environments and a trashy exploitation film.

The final film from Orson Welles collaborator (!) Albert Zugsmith, the incredibly sleazy rape and revenge mystery VIOLATED! (1973) stars Rene Bond in one of her finest dramatic performances and is an all-out assault of bad taste and pure drive-in trash of the highest order.