After the success of Dogme ’95 (see Trier and Vinterberg, “Dogme ’95 Manifesto and Vow of Chastity,” in chap. 2 of this volume), Lars von Trier and Zentropa, his Danish production company, started producing other manifestos in order to reimagine other genres of cinema. One such manifesto was the “Puzzy Power” manifesto issued in 1998, which championed porn from a women’s perspective. Three fi lms have been produced following the manifesto thus far: Constance (Knud Vesterskov, Denmark, 1998), Pink Prison (Lisbeth Lynghøft, Denmark, 1999)—both of which became porn video bestsellers in Scandinavia—and All About Anna (Jessica Nilsson, Denmark, 2005). The “Puzzy Power” manifesto argues that the reason women do not typically like porn is not because it is hardcore but because the fi lms often degrade women. “Puzzy Power,” therefore, argues for a feminist hardcore pornographic aesthetic. Unlike the Dogme manifesto, Puzzy Power contains both rules to follow and tropes to avoid (“What we hate . . . is the oral sex scene where the woman is coerced to perform fellatio, her hair pulled hard, and come is squirted into her face.”). In other words, it combines both the “shalls” and “shall-nots” of manifesto writing.