And yet Waters still finds plenty of room within them to revel in the strange obsessions of his warped mind.Ĭase in point: 1994’s Serial Mom. His works from this period largely read as more commercial, more tame. But in the following decades, he toned down his aggressive, sensationalist style considerably. Waters gained a cult following in the 1970s with low-budget “trashterpieces” like Pink Flamingos and Female Trouble. It’s Waters’ way of skewering the puritanical, homophobic attitudes of mainstream American culture.
They live on the fringes of society and engage in any number of depravities, while the supposed upholders of decency are framed as villains.
His movies’ heroes are deranged, murderous, sex-crazed megalomaniacs. But where Lynch deals in dark, atmospheric melodrama, Waters prefers outright pulp-novel camp. Like his contemporary David Lynch, the underground cinema icon seeks to expose the rot at the heart of the idyllic world of post-World War II America. John Waters’ films are all about transgression.
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