Tessa Hughes-Freeland
Dirty (1993)
Dirty (1993) directed by Tessa Hughes-Freeland is one of the sort of 'lost classics' of the Cinema of Transgression movement. It has never been released in any home media format and this rip comes from Hughes-Freeland herself.

The film was shot on Super-8 and is based on Georges Bataille's erotic novella Blue of Noon aka Le Bleu du Ciel and is thus naturally quite scatological. The film stars and was made in collaboration with Annabel Lee (aka Annabel Davies), who previously starred in films by Richard Kern and currently plays violin in her husband's neofolk group Blood Axis. Dirty also stars filmmakers Alyce Wittenstein (Betaville, No Such Thing As Gravity) and Charles Pinion (Red Spirit Lake).

From the book Deathtripping: The Extreme Underground by Jack Sargeant:

British-born Tessa Hughes-Freeland approaches filmmaking in a multiplicity of styles, ranging from classic narrative to experimental 'performances' and even documentary. The earlier of Hughes-Freeland's films to be kept in distribution is her three minute 16mm documentary Baby Doll (1982) which depicts the preparations of two go-go dancers intercut with shots of their feet dancing, while their voices describe the nature of their work. Her narrative short films include a collaboration with Tommy Turner Rat Trap (1986), a collaboration with Annabelle Davies based on Georges Bataille's Le Bleu Du Ciel (Blue of Noon, 1935/1957), called Dirty (1992) and Nymphomania (1994), a collaboration with Holly Adams.

Dirty follows the spiraling circles of transgression taken by a female protagonist who gets drunk in an exclusive bar, falls over and shows her underwear. She returns to her apartment where she continues to great increasingly drunk, much to the annoyance of her maid and the bellboy. Finally she urinates (while fully dressed and sitting in an armchair), to the obvious disgust of the maid. Before anybody can do anything she proceeds to shit in her pants. The maid takes her to the bathroom where she strips and bathes her, while wiping the smears of shit off the side of the bath. Cleaned, the woman returns to her room where she drinks with the bellboy, asking him to tell her his stories concerning any repulsive experiences he has witnessed in his line of work. The film emphasizes the degradation and abjection of the main character as a result, or facet, of the transgressive nature of her behavior.