杰克（阿德里安·布洛迪 Adrien Brody 饰）是一个江湖浪荡子，玩世不恭的他整日游走在法律和道德的边缘，日子过得潇洒又无牵无挂。一次偶然中，他遇见了克莱尔（夏洛特·阿雅娜 Charlotte Ayanna），一位从品行到举止都足以被成为真正的淑女的美丽女子。 就是这样迥然相异的两人，他们相爱了。杰克让克莱尔明白，像他这样的底层人物，看似自在却有着难以言说的悲伤，江湖如此险恶，远不如她所知晓的那般美好，要在这样的社会中生存下去，就必须付出代价。在克莱尔的身上，杰克却看见了正直和美好的品质，她给予他的爱和温柔让他不至于沉堕到底。互相伤害，互相拯救，杰克和克莱尔这对恋人能否走到最后呢？

The 1970s was an extraordinary time of rebellion, of questioning every accepted idea: political activism, hedonism, protests, the sexual revolution, the women's movement, the civil rights movement, the music revolution, rage and liberation. Every standard by which we set our social and cultural clocks was either turned inside out or thrown away completely and reinvented. For American cinema, the 1970s was an era during which a new generation of filmmakers created work for a new kind of audience--moviegoers who were hungry for stories that reflected their own experiences and who were turning their backs on aged old studio formulas. As a result, emerging filmmakers influenced by foreign directors such as Godard, Kurosawa and Fellini coupled with the social climate and a struggling studio system, converged to create a new kind of moviemaking. Through their choice of material, filmmakers such as Francis Ford Coppola, Martin Scorsese, Robert Altman, Peter Bogdanovich, William Friedkin, Roger Corman and Paul Schrader revolutionized mainstream movies and for the first time personal visions were coming out of the studio system.

Carol Jeffries (known as 'Jeff') is a naive American woman staying in the Phillipines. She is given ten years in prison after being set up by her drug-dealer boyfriend, Rudy. She endures the harsh conditions, sadistic head matron and attempts on her life, then convinces her cell-mates to try to escape with her through the jungle, in spite of the knowledge that ruthless trackers will be sent out after them. ” “ Legend has it that Sam Arkoff, head of American International Pictures saw a statuesque Grier at his company switchboard and cast her on the spot for her breakthrough hit Coffy. That, as they say, is bull shee-it. The former beauty queen made her film debut in 1970 as an extra in Russ Meyer's big breast bonanza Beyond The Valley Of The Dolls, and appeared in a number of B-pics shot in the Philippines the following year for AiP's rival company, Roger Corman's New World Pictures. Alongside her role as the tough-as-nails prostitute in Big Doll House were supports in the horror flick The Twilight People and as a topless hooker (again!) in Cool Breeze, then back behind bars for Women In Cages. In Women In Cages, Grier plays the sadistic warden for once, a pot-smoking lesbian with a fully-equipped torture chamber (including a guillotine!). The 'New Fish' (a recent inmate, for you prison film novices), a ditzy blonde ex-stripper called Alabama, has taken the heroin possession rap for her pimp boyfriend. She knows too much, so the pimp blackmails her cellmates to execute her. A competent and well-shot entry in the tropical prison genre from Filipino director Gerry De Leon, it places the embittered ex-addict and prostitute Grier in the position of slave owner, watching her white charges toiling away in the plantation with obvious ironic glee.

With archive film clips and interviews, this brief look at a frequently overlooked historical period of filmmaking acts as an introduction rather than a complete record. It features interviews with some of the genre's biggest stars, like Fred Williamson, Pam Grier, and Richard Roundtree. Director Melvin Van Peebles discusses the historical importance of his landmark film Sweet Sweetback's Baadasssss Song. For a contemporary perspective, the excitable Quentin Tarantino offers his spirited commentary and author/critic bell hooks provides some scholarly social analysis.

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