Queer punk prankster Bruce LaBruce’s latest work is a little too cheeky & misshapen to stand out as my favorite movie of the year but it is the most John Watersiest film I’ve seen all year, which, close enough. Although he has been making films long enough to have been lumped in with the New Queer Cinema movement of the early 90s (a descriptor he rejects in favor of association with the “queercore” punk scene), LaBruce still traffics in transgressive, microbudget outsider art that recalls John Waters’s trashy protopunk beginnings in the early 1970s. The Misandrists has clear thematic & aesthetic vision and a distinct political voice, but its commanding ethos is still aggressively amateur & D.I.Y. Its burn-it-all-down gender & sexual politics are sincerely revolutionary but are also filtered through a thick layer of over-the-top-camp. You might be justified in assuming The Misandrists was a film school debut from a young, angry upstart with a still-fresh appetite for shock humor & pornography, but it’s got the clear vision & tonal control of an artist who’s been honing their craft for decades – like John Waters at his best.
Set “somewhere in Ger(wo)many” in an alternate timeline 1999 (near the release of Waters’s similarly militant Cecil B. Demented) The Misandrists establishes a femmetopia comprised of man-hating revolutionaries who train to violently overthrow the Patriarchy. The women’s testosterone-free environment is disrupted by three types of intruders before their pornography-funded political revolution is fully launched: a male anti-capitalist revolutionary harbored under the noses of their leadership, pig cops searching for that persona non grata, and the trans & non-binary comrades already in their midst despite their cis-femmes-only recruitment policy. There are abundant red flags early in the film that suggest it subscribes to grotesque TERF ideology, but that outdated lack of intersectionality & inclusivity becomes its exact political target if you allow it time to get there. It affords characters air time to voice repugnant trans-exclusionary ideals, but when one of its most disruptive outsiders declares “It’s time to reconcile your revolutionary beliefs with your sexual politics,” the sentiment rings genuine in a way few of its radical extremist bon mots do.
For the stretch of The Misandrists that does voice rad-fem, TERFy ideology, it does so only to indulge in over-the-top, tongue-in-cheek exaggerations of what feminism looks like in an exploitation cinema context. The femme “comrades” of the film form a “separatist commune” disguised as a convent of nuns-in-training. They’re actually training as “an army of lovers” looking to establish a self-sustaining lesbian society free of men, whom they consider “repulsive,” “despicable,” “contaminating,” and “the cops of the world.” Their political ideology playfully crosses the line into religious dogma, as they form a new femme version of Christianity around “The Mother, The Daughter, and The Holy Cunt.” Terms like “(wo)manual,” “herstory,” and “womansplain” roll off the tongue as if they were commonly spoken phrases instead of humorous perversions of idioms. As the title suggests, The Misandrists presents an exaggerated version of what shithead men imagine when they hear the word “feminism”: militant man-haters & lesbians gearing up to steal power from all men everywhere in a violent overthrow. When depicted so crassly & without nuance, that imaginary version of feminism is a hilarious, over-the-top cartoon. It’s also, unsurprisingly, badass.
What’s most distinctive about The Misandrists is how LaBruce finds ways to express his true, genuine ideology through pornography while still allowing rad-fem caricatures to voice the politics he’s openly mocking. Two femme comrades watch masc gay porn for “research,” voicing violent disgust for the very sexual acts LaBruce is infamous for including in his art. The film itself often crosses the line from militant feminism-spoofing exploitation cinema into full-on lesbian porno, leering at girls making out while a tender pop song dryly intones “Down, down, down with the Patriarchy.” A transgressive, queer filmmaker, LaBruce goes out of his way to make sure this display is not straight-guy masturbation fodder. He not only plays extensive clips of hardcore gay pornography in an early scene, he also includes graphic footage of a real-life gender reassignment surgery and disrupts the straight eroticism of the lesbian sex scenes with perverse kinky defilements of food (including the filthiest use of eggs that I’ve ever seen in any film, including Tampopo). When a character proclaims, “Pornography is an act of insurrection against the dominating order,” it feels like one of the few moments when LaBruce is expressing a genuine political thought, as opposed to an over-the-top cartoon caricature of feminism. Of course he believes pornography could be a useful tool for funding a queer revolution – he’s already been using it that way for decades.
If you’re looking for a shocking, over-the-top slice of campy schlock, 2018 isn’t likely to offer a much more perfect specimen than The Misandrists. That might be the only way in which the film is “perfect,” as it deliberately traffics in imperfections & insincerities to prove a larger political point and to stay true to LaBruce’s D.I.Y. queercore sensibilities. Every year I ask myself which calendar release I would most want to watch with John Waters, The Pope of Filth, and I imagine this sarcastic, pornographic, politically angry act of feminist camp would tickle him like no other 2018 release I’ve seen.