In Russ Meyer’s enduringly influential, black-and-white cult classic, three go-go dancers (Lori Williams, Haji, and Tura Satana) tear across the California desert on a nihilistic crime spree, a rampage saturated in attitude, style, and an insatiable hunger for thrills, no matter how violent. Meyer wrote, directed, and edited Faster, Pussycat! Kill! Kill!, but the show is stolen by the trio of women at its core, who uncork outrageous line deliveries and anchor much of the film’s iconic imagery. A deliriously overdetermined time-bomb of a movie, Faster, Pussycat! Kill! Kill! remains one of cinema’s most gleefully subversive road films. Courtesy of the Museum of Modern Art.

The film’s black and white imagery makes me feel like I’m watching a movie shot on an alien planet. It reminds me of several Thai exploitation films that followed in its footsteps, but with less bravery and lunacy. This film is a mothership. —Apichatpong Weerasethakul