Assuming the film centers on six Swedish girls at a boarding school, key themes might include:
A score blending minimalist piano (à la The Silence) with Nordic folk motifs would root the film in its cultural context. References to authors like Selma Lagerlöf or August Strindberg might underscore literary themes of identity and isolation.
The film’s narrative is deliberately thin, serving as a clothesline for erotic set-pieces. A strict but easily flustered headmistress runs a Swiss boarding school for young women. Six Swedish students—blonde, buxom, and rebellious—are the main troublemakers. When a new, handsome male teacher (or in some versions, a gardener or handyman) arrives, chaos ensues.
Key scenes include:
Unlike hardcore pornography, the film keeps its explicitness at an R-rated/softcore level—breasts and buttocks are abundant, but simulated sex acts are framed amid slapstick comedy. The “boarding school” setting fulfills authority-figure fantasies and lesbian subtexts, though the film treats everything with juvenile humor rather than genuine erotica.
Objectively: no. The acting is wooden, the “comedy” consists of slapstick falls and double-entendres lost in translation, and the eroticism is tame by modern standards. However, as a time capsule of late-70s Euro-trash cinema, it is invaluable. It sits alongside films like Swedish Fly Girls (1978) and Boarding School for Naughty Girls (1977) as a perfect specimen of the genre.
For fans of camp, bad cinema, or historical sexploitation, it’s a must-see. For others, it’s 85 minutes of synthetic blonde hair, overacting, and creaking bed springs. Assuming the film centers on six Swedish girls
Identifying the exact cast is difficult due to widespread use of pseudonyms. Many actors were German or Swiss amateurs. Key actresses often associated with Dietrich’s films (like Brigitte Lahaie) do not appear here; instead, lesser-known performers like Nadia Zysman and Brigitte Meyer are sometimes credited. The male lead was often Eric Falk, a regular in Dietrich’s stable.
The film is known under multiple titles across various DVD and VHS releases:
No known original release contains the string “mtrjm atsh dy,” which is almost certainly a user-generated error or a hash tag corruption from a torrent file name. The film’s narrative is deliberately thin, serving as
Erwin C. Dietrich was no Bergman. His direction is functional at best: static shots, zooms into cleavage, and gentle soft-focus lighting to flatter the actresses. The 1979 production values are low even by B-movie standards. The boarding school set is clearly a rented Swiss villa with little decoration. Costumes are limited to school uniforms (white blouses, plaid skirts) quickly discarded.
Music is a repetitive library funk-synth score—bass slaps, wah-wah guitar, and moog synthesizer noodling. The film’s runtime is approximately 85 minutes, but many versions circulating online are truncated to 70-75 minutes, missing establishing shots and dialogue.
The film might emulate the stark, atmospheric visuals of Ingmar Bergman, using muted tones and claustrophobic framing to evoke psychological tension. Alternatively, it could adopt the naturalistic dialogue of director Jan Troell, emphasizing everyday interactions as profound. Unlike hardcore pornography, the film keeps its explicitness
Swedish cinema of the era often grappled with existentialism. The remote boarding-school location could mirror environmental concerns or a yearning for connection in an increasingly bureaucratic society.