In the article, I tackle the »low« movie genre of feminist pornography through deleuzian film theory in a way that legitimises and affirms its viewing. By considering Swedish producer Mia Engberg’s collection of short films Dirty Diaries (2009), I revise the early psychoanalytic feminist film theory and try to dismiss its analytic distance and replace it with the »new image of viewing«, which is based on proximity and touch. I do not attempt to find a paradigmatic feminist pornographic film; instead, I embrace the diversity. But this is not a further hijacking of the affects to create ever new niche markets. By viewing them together, one can find new lines of flight towards anti-oedipal possibilities of pleasure beyond sexual difference.