The Working Girls is a 1974 sexploitation film written and directed by Stephanie Rothman and starring Sarah Kennedy, Laurie Rose and Cassandra Peterson.

[3][4] It is about three women sharing an apartment in Los Angeles - Honey, Jill and Denise - who are all endangered by the men in their lives.

She and her husband, Charles Swartz, left Dimension Pictures after making it and she was unable to find other directing work.

She arrives in Los Angeles, determined to find a job and is sexually harassed by a diner owner.

"He wanted me to make another film about a group of attractive young women who lived together and about their adventures," said Rothman.

She felt the title "would probably be a commercial asset, you know, in the advertising campaign but I was not personally interested in implying that these people were, in any sense, prostitutes.

By the film’s end, they have learned such life lessons as an open heart can lead to the warmth of friendship, the impermanence of love and the pain of loss; desire for the wrong man is not good for one’s ethics or ambitions; and most surprising of all, learning how to be a capitalist can lead to becoming a utopian socialist.

She said "I am particularly drawn to the problem that the three main characters face, a problem shared by most young people: how to find work that will support them and provide satisfaction at the same time.”[7] The movie features the first screen acting appearance by Cassandra Peterson who later became famous as a late night movie host, Elvira.

"[2] Film Fanatic said "While its weak ensemble storyline ultimately makes this one of Rothman’s lesser efforts, it’s certainly worth a look by followers of slyly subversive feminist cinema.

"[8] Screen Slate said Rotham "crafted an apparently playful but deeply personal statement about the importance of autonomy in both the bedroom and the workplace.

"[1] The Chicago Reader felt the film "finds Rothman plainly fed up with the limitations of the exploitation genre, and the wit, stylistic assurance, and feminist subtexts she was able to insert in her earlier work in the field... are largely lacking here.

While it doesn't have quite the same satirical snap as her [Rothman's] finest work, there's plenty to enjoy here as the plot careens from one absurd situation to another, and even better, it provides a great snapshot of '70s SoCal... Rothman's gift for swerving dialogue in unpredictable directions is still present here in abundance as even the most disreputable characters display a verbal flair and generous disposition.