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.
Today, Six Swedish Girls in a Boarding School is viewed as a definitive artifact of the 1979 European exploitation boom. It captures a specific window in cinematic history before the widespread adoption of shot-on-video (SOV) adult content completely shifted the industry away from celluloid theatrical releases. For enthusiasts of retro cinema and European exploitation history, the film remains a frequently cited example of Erwin C. Dietrich's commercial formula and Brigitte Lahaie's early career filmography. Share public link
| Character | Actor | |-----------|-------| | Greta | Brigitte Lahaie | | Inga | Lynn Monteil (as Nadine Pascal) | | Kerstin | France Lomay (as Aude Mallois) | | Lil | Danielle Troger (as Ella Rose) | | Astrid | Kathleen Kane | | Selma | Elsa Maroussia | | Karl, der Angler | Eric Falk | | Miss Klein | Anne Libert | For fans of camp, bad cinema, or historical
Dietrich rarely used his real name on screen. For Six Swedish Girls , he is listed as (director) and Manfred Gregor (writer) – a common trick to separate his commercial porn work from his family‑friendly productions. His style was famously low‑budget, high‑nudity, and almost completely plot‑light. As one reviewer put it: “People certainly weren’t coming to pictures like this for some sort of Ingmar Bergman experience”.
Released on , the movie is a Swiss-French co-production spearheaded by the prolific Swiss exploitation director Erwin C. Dietrich . It captures a specific window in cinematic history
A regular performer in European adult productions during the late 1970s.
No one knew who sent it. But that night, they broke the rules. They walked down to the frozen jetty in their nightgowns, breath smoking in the moonlight. Elin held a lantern. Maja hummed the silent piano piece aloud for the first time. Share public link | Character | Actor |
The 1979 cult-classic film (originally titled Sechs Schwedinnen im Pensionat ) stands as a cornerstone of late-1970s European sexploitation cinema. Directed by the legendary Swiss filmmaker Erwin C. Dietrich under the pseudonym Michael Thomas, this lighthearted, low-budget comedy captures a distinct era of cinematic history. It subverts traditional boarding school drama tropes in favor of playful, free-spirited, and unabashedly rebellious erotic escapades.