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After bursting on the film scene in 1972 with the bad-taste manifesto Pink Flamingos, Waters began to slowly refine his filmmaking craft, while losing none of his brilliantly subversive wit. Polyester resurrects Smell-O-Vision, foot-fetish teenagers, and Divine as a housewife trapped in a suburban nightmare. Waters' outrageousness meets Douglas Sirk's melodrama in Reagan's America, and the result is among his most entertaining films.