An experimental documentation behind the culture of S&M apartment rentals in Berlin answering the questions: who owns them, how are they designed/built, to whom and how they are marketed, and how they fit into their niche market within the cities well-known sex tourism trade?

This documentary takes the dancing body on the homo-social dance floor as a research site and aims to wander through the spectrum of hyper masculinity and its expressions, cultural origins and political implications.

This documentary takes the dancing body on the homo-social dance floor as a research site and aims to wander through the spectrum of hyper masculinity and its expressions, cultural origins and political implications.

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?

This documentary takes the dancing body on the homo-social dance floor as a research site and aims to wander through the spectrum of hyper masculinity and its expressions, cultural origins and political implications.

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.

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.”

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?

In his provocative new work of existential science fiction, Emre Busse invites his audience to question the meaning of “the gaze” as part of the post-human experience by replacing the eyes on the face with the orifice. This jarring visual and switch from the literal to the metaphorical leaves the protagonist to redefine his own human desires while reinventing his new self. In this new, surreal world of customizing sexual desires, one is left to question why they have been programmed to accept the bare minimum of their deepest desires in the first place!

In his provocative new work of existential science fiction, Emre Busse invites his audience to question the meaning of “the gaze” as part of the post-human experience by replacing the eyes on the face with the orifice. This jarring visual and switch from the literal to the metaphorical leaves the protagonist to redefine his own human desires while reinventing his new self. In this new, surreal world of customizing sexual desires, one is left to question why they have been programmed to accept the bare minimum of their deepest desires in the first place!