Frequently dubbed ‘Nazi-porn’, the cycle of Nazi sexploitation films that emerged from Italy in the late 1970s is, I argue, the most deviant and severe example of the entire medium. In this paper, I will incorporate brief excerpts from Pierre Bourdieu’s Distinction: A Social Critique of the Judgement of Taste and the writings of Primo Levi into an examination of this notorious cycle of films that depict excessively trivial and incompetent representations of concentration camps. Though I am referencing Italian examples as they are the most well known (and explicit), this type of film has been linked to several national cinemas, including American and Canadian. It further warrants mention that their origins date back to a literary aesthetic that is beyond my scope here. It is my objective to explore how this uniquely marginal cinema not only impacts established discourses in a way unlike any other, but also destabilizes theoretical frameworks frequently taken for granted in academic circles. In a letter to the Italian newspaper La Stampa in 1977, Holocaust survivor (and author of the seminal Survival in Auschwitz) Primo Levi directly addressed the Nazi sexploitation cycle with a logic that is more relevant today than ever. Levi’s discussion of the films’ ideological consequences is central to discussing their broader historical implications. To a greater extent than even slasher films or hardcore pornography, Nazi sexploitation has long been banished to the outermost peripheries of culture-a consequence of the fact that it does not merely seek to repulse, but actively incorporates inane sexual imagery to invoke an eroticized, ‘masturbatory’ reaction to the historical memory of the Holocaust. The films rely on enormously problematic historical implications which they themselves demonstrate absolutely no interest (or competence) in addressing. I base my position on what I see as a general consensus of the artistic legitimacy (or ‘cultural capital’) of Nazi sexploitation being non-existent. This provides an ideal vantage point from which to examine Bourdieu’s assertions regarding the relationship between taste and social class.