Jennifer M Kroot's provocative documentary Hunky Jesus, featuring narration by George Takei, has been selected as the opening event for this year's BFI Flare festival in London. This prominent LGBTQ+ film festival showcases the movie, which delves into an audacious annual talent competition held every Easter in San Francisco.
Controversial Easter Celebration
The film centers on the Hunky Jesus contest, organized by the Sisters of Perpetual Indulgence, a collective of queer drag nuns, performance artists, and activists. Contestants in this event often appear oiled, displaying physiques not typically associated with biblical depictions, and sometimes engage in pole dance-inspired movements around cross props, with participants humorously expressing desires to be "nailed and rise again."
Satirical Spirit and Religious Commentary
With great stamina and unwavering commitment, the Sisters maintain their characters throughout, operating in what they describe as the cheeky spirit of Tom Lehrer's comic song The Vatican Rag. The documentary captures the exuberant, defiant celebration that satirizes traditional Easter observances, sparking both amusement and controversy.
While much of the footage consists of celebratory scenes from the outdoor event, the film provides insight into the parallel competition for the Blessed Virgin category. It also features reactions from religious communities, with some church members shown expressing fury and disapproval toward the event's sexualized portrayal of religious figures.
Complex Perspectives and Global Impact
One Sister offers a pointed perspective: "You don't own Jesus. You don't own Easter." However, a gently supportive cleric voices mixed feelings about the sexualization of Jesus, highlighting the nuanced discussions surrounding the event. When pondering what the historical Jesus might have thought, a Sister drolly suggests he might have considered competing for the title himself.
The documentary reveals how the Sisters' brand identity has evolved over decades, with their ministry spreading globally. This expansion occurs against a backdrop of what they describe as ongoing "boorish and humourless homophobia," adding layers of social commentary to the film's exploration of religious satire and LGBTQ+ expression.
