Dirty Diaries is a 2009 collection of thirteen short films of feminist pornography made by Swedish activists and artists and produced by Mia Engberg.

The film sparked controversy before and after its release because of sexually provocative content and the fact that it was mainly financed through public funds.

The idea for creating Dirty Diaries emerged after Engberg and some of her friends made Come Together for the Stockholm International Film Festival.

To Engberg, this was proof that pornographic films demanded that their female participants should be seen as pleasing to their primarily male audience.

[1] Engberg had previously made another feminist pornographic short called Selma and Sofie, which enjoyed some success.

Dirty Diaries was first shown at a gala premiere at the small neighbourhood cinema Bio Rio near Hornstull in Stockholm on September 3 and released on DVD the same day.

Beatrice Fredriksson, member of the Moderate Party youth organization and author of the Anti-Feminist Initiative Blog, labelled the use of public funds as hypocrisy, since mainstream pornography would never receive the same financial support.

[5] Marit Östberg, one of the film's directors, defended the public financing of the project by stressing that the values behind Dirty Diaries are radically different from that of mainstream pornography.

[8] Elwin Frenkel repeatedly maintained that SFI does not support pornography, and that Dirty Diaries received financing because it aimed to try a new approach to depicting female sexuality.

[2] Rasmus Malm in Göteborgs-Posten summarized the controversial potential of Dirty Diaries as "a Kinder Egg from hell, specially designed to provoke Christian Democrat columnists.

[9] The unusual circumstance of government-sponsored pornography also led to the topic being the butt of a parody by US talk show host Conan O'Brien.

[10] Lars Böhlin of Västerbottens Folkblad described it as "dull, ugly and rather artistic"[11] and criticized its being filmed with mobile phone cameras in an age of large television screens.

Böhlin also noted his negative reactions to the portrayal of a man being lured into having sex in front of a camera in Body contact and expressed sympathies for the people exposed to the advances of Johanna Rytel in Flasher girl on tour.

[12] Camilla Carnmo, writing for Smålandsposten was more positive, commenting that it was "good-looking and professional" despite being filmed only with phone cameras, but also added that it was "more art than porn",[13] even if it fulfilled the technical criteria for traditional pornography.

Unlike Böhlin, Carnmo praised Flasher Girl on tour for "combining humor, sex and politics in a liberating way".