Director of Photography
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.
Director of Photography
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 assh*le 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.”
Director of Photography
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?
