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GODASSES TRILOGY (2021 - 2022) - Screening Calendar

2024 - April: Cinemateket, Copenhagen, Denmark

2023 - October: This Is Not A Gay Porn, Mexico City, Mexico
2023 - October: Queer Film Festiva Bremen, Official Selection, Bremen, Germany
2023 - August: ENTRE x Otherness Archive, Official Selection, Texas, United States
2023 - August: Mostra Quelly – Gender and Sexuality Film Festival, Official Selection, Sao Luis, Brazil
2023 - July: Zumzeig-This is (not) gay porn, Official Selection, Barcelona, Spain
2023 - June: Lubunya Dispatches, Institute of Contemporary Arts, London, the United Kingdom
2023 - May: Natural Instinct-Porno, Film, Kunst Festival Official Selection, Stuttgart, Germany

2023 - May: Queer Mais Trash, Brussels, International Competition, Brussels, Belgium
2023 - May: La Fete du Slip, Official Selection, Lausanne, Switzerland
2023 - March: Otherness Archive X Seen Collective, Milwaukee, United States​

2023 - January: Courts Mais Trash, Brussels Independent Short Film Festival, International Competition
​2022 - December: Porn Film Night, House of CT(voorheen Compagnietheater), Amsterdam, Netherlands
2022 - November: Porny Days Film and Arts Festival Zürich, Official Selection, Zürich, Switzerland
2022 - November: QUEERSICHT Film Festival, Official Selection, Bern, Switzerland
2022 - October: Porn Film Festival Berlin, Official Selection, Berlin, Germany
2022 - October: Athens Porn Film Festival, Official Selection, Athens, Greece
2022 - October: Otherness Archive London, Group Show, London, the United Kingdom
2022 - September: Fish&Chips: Torino International Erotic Film Festival, Official Selection, Italy
2022 - September: Luststreifen Film Festival, International Competition, Basel Switzerland
2022 - September: Le Fessestival, Official Selection, Geneve, Switzerland
2022 - September: Homography - Queer Festival of Film and Performance, Brussels, Official Selection
2022 - September: Queergestreift Film Festival, Official Selection, Konstanz, Germany
2022 - August: 'PRONOUNced', Phoenix Arts Center Brighton, the United Kingdom
2022 - August: Porn Film Festival San Francisco, Official Selection, San Francisco, United States
2022 - June: Post-Porn Film Festival Warsaw, Official Selection, Warsaw, Poland
2022 - April: Brussels Porn Film Festival, International Competition, Brussels, Belgium
2022 - April: Porn Film Festival Vienna, International Competition, Vienna, Austria
2022 - March: Porn Film Festival Innsbruck, Official Selection, Innsbruck, Austria
2022 - March: Porn Film Nights Graz, Official Selection, Graz, Austria
2021 - October: Porn Film Festival Vienna, World Premiere & Opening Film, Vienna, Austria

GODASSES – Part III : Jamal Phoenix

For the final installment in his GODASSES trilogy, Emre Busse conspires with trans porn talent Jamal Phoenix to redefine the desirable body outside of a hegemonic society’s normative restrictions and, because of the specific relationship that pornographic images have to their audience, fuck with a viewer’s assumed self-assurance as being a coherent sexual subject.

Porn’s specificity as a particular genre of representation lies in its almost visceral appeal to the spectator’s body as it elicits an immediate somatic response; Richard Dyer speaks of pornography’s ability to “move” the body. The spectator suddenly feels their body, which manifests itself as something distinct over which we do not have full control. Pornography is not recognized by our intellect alone but, at least partly, perceived through bodily or emotional responses.

Thus, even the bodies of spectators that do not identify as gay might be moved upon encountering the scopophilic richness of Jamal Phoenix’ FTM body in action with other men: the body might move in ways that the mind did not anticipate. As a result of this disordering, or the apparent dissonance between mind and body that one possibly experiences, the genitals ultimately take off from binary sexed bodies and are merely immersed in a collective pursuit oriented towards the intensification of pleasure.

GODASSES - Part II: 5ildo

L’entrée du monde

Whereas the first video of Emre Busse’s GODASSES reverences the luscious materiality of the butt, the second part of his trilogy openly centers its open center. Together with adult entertainer 5ildo, Busse examines the asshole as gateway into a world of polymorphous pleasures, which are ultimately detached from the valorizations of sex and particularly the male sex.

It almost goes without saying that any entry into this cavity poses a problem for heteronormative ideals of masculinity. Against presupposed constructions of gendered exchange, positions, and sexual possibilities, the penetrated man opens his body to erotic significations that seemingly annihilate his privileged, gendered subject position. But seemingly extreme anal practices such as fisting, which is prominently featured in this video, invents pleasures beyond the confines of gender. Fisting anarchizes a body’s traditional erotic organization as it deprioritizes the so-called genitals and the orgasmic release.

By worshipping the anus, GODASSES Pt. 2 immerses us in an orifice that is universal to all of humanity (and, with some exceptions like sea sponges or jelly fishes, to most non-human animals as well). As an erogenous center, the asshole is situated beyond the anatomical limits imposed by sexual difference since it bears no immediate relation to procreational organs: “The anus’s task,” as Paul B. Preciado concludes in his Countersexual Manifesto, “is not directed toward reproduction, nor is it founded on the establishment of a romantic nexus. It generates profits that cannot be accounted for in a heterocentric economy. Through the anus, the traditional sex/gender representation system shits itself.”


GODASSES - Part I: Puscle Mussy

In his comedy The Clouds (423 BCE), the Greek playwright Aristophanes provides us with a description of what a naked young man should look like. During a debate between personifications of traditional morality and hedonistic self-indulgence, the former seeks to persuade the young Phidippides of the personal advantages of a virtuous life. By following this path, “you’ll always have a gleaming chest, bright skin, broad shoulders, tiny tongue, strong buttocks, and a little prick. But if you take up what’s in fashion nowadays, you’ll have, for starters, feeble shoulders, a pale skin, a narrow chest, a huge tongue, a tiny bum, and a large skill in framing long decrees.” The physical ideal pursued here is also reflected in the shapes of contemporaneous sculptures or the depictions on ancient vases: Whereas a strong booty combined with a small penis elevated an ephebe almost to the rank of a god, a large genital and flabby buns were indicative of a careless, depraved lifestyle.
Obviously, tastes and preferences have changed since antiquity; a small dick isn’t the merit it used to be, especially within the genre of pornography. But a juicy arse still proves to be enchanting. And Puscle Mussy, one protagonist of Emre Busse’s movie GODASSES and the star of his very own OnlyFans account, has it both – “a big muscle pussy and big dick,” as he advertises his assets on Twitter. Despite this excess of desirable meat, Busse focuses exclusively on Mussy’s divine derriere as part of his newest compilation of short films, which continue his earlier filmic explorations of gay pornography and masculinity. In this new project, he questions the myth of having the perfect keister in contemporary queer porn and asks: What makes us fancy the fanny? How much junk belongs in the trunk?
The tush is a peculiar thing – and not as ubiquitous as the abundance of terms used to describe our sitzfleisch makes us believe. In fact, the fleshy posterior is only pronounced in humans and to a lesser degree in primates. Its voluminous shape is defined by fat and muscles known as the glutes, which are responsible for achieving as well as maintaining the upright posture and propelling the body forward. Evolutionary, our prat emerged in correlation to the development of the erect posture around six million years ago, a necessary key event for the genesis of humankind. However, in Busse’s GODASSES, humanity is back on all fours again, with Puscle Mussy shaking his greased groove thing. Demonstrating, pace Aristophanes, that you can have it all, a fat ass and hedonistic self-indulgence. You can have the cake and eat it, too – or in this case: he has the cake and can have it eaten, too.


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