Sexploitation film

[5] In the United States, exploitation films were generally exhibited in urban grindhouse theatres, which were the precursors to the adult movie theaters of the 1970s and 1980s that featured hardcore pornography content.

In Latin America (most notably in Argentina), exploitation and sexploitation films had meandering and complex relations with both moviegoers and government institutions: they were sometimes censored by democratic (but socially conservative) administrations and/or authoritarian dictatorships (especially during the 1970s and 80s),[6][7] and at other times they enjoyed an important success at the box office.

[8] There were initially three broad types: "nudie cuties" such as The Immoral Mr. Teas (1959), films set in nudist camps like Daughter of the Sun (1962) and somewhat more "artistic" foreign pictures, such as The Twilight Girls (1961).

[17] By the late 1960s the films were attracting a larger and broader audience, however, including couples rather than the single males who originally made up the vast majority of patrons.

[16] The genre rapidly declined in the early 1970s due to advertising bans, the closure of many grindhouses and drive-in theaters and the growth of hardcore pornography in the "Golden Age of Porn.

Armando Bó, who made several sexploitation and erotic films with his romantic partner and muse Isabel Sarli, is one of the most well-known cases in Argentina of having disputes with the censors who wanted to either put him in jail for making "obscene material" or ban his films, which were released mostly in a truncated form, and with many scenes excised from his movies at the time of their release.

Although he exercised a mostly bureaucratic role, Tato was keen on giving interviews to the media describing his far-right authoritarian views and even boasting about being "a nazi" on several occasions.

They were the two greatest figures of erotic cinema in their home country, competing for the headlines as well as the box office success, and at the same time the contrast between the two, in appearance and in personality (on screen and off as well) couldn't be bigger: Isabel Sarli was a flashy brunette, with generous shapes and natural attributes.

Libertad Leblanc was instead rather slim, reportedly had breast implants, dyed her hair platinum blonde, and maintained her distinctive white skin by constantly avoiding exposure to the sun.

Sarli had a shy and somewhat innocent personality, and she always exuded a "homely and easy-going" public image; her movies were usually melodramas and comedies with a lot of nudity.

In contrast, Leblanc was uninhibited and cunning, and gave a public image of a vamp or a seductress; she was dubbed as "The White Goddess" (La diosa blanca) by the media,[26] and her filmography includes police movies and thrillers.