Antonio Marziale's Starfuckers is now showing exclusively on MUBI in most countries—including the United States, United Kingdom, India, Turkey, Brazil, Mexico, and Canada—starting November 10, 2022, in the series Brief Encounters.
A “me-too” revenge story that’s also a musical soundscape drag performance. It was a pitch that triggered frowns. We knew Starfuckers was a risk, both terrifying and exciting, and there is no better place to create from.
I learned in the early stages that in addition to writing the script, recording the lip-sync audio was an essential part of conveying the film’s tone and playfulness (and darkness). I found a sound mixer in LA named Dusty Moon, and recorded the voices for the lip-sync under the influence of a large iced coffee. With zero context of the script, Dusty handed me a mic as I yelled “YOU, YOU DIDN’T ANSWER MY PHONE CALLS” and “ARE YOU SAYING THERE’S PEDOPHILES, AND THEY’RE STILL WORKING IN THIS INDUSTRY?” over an ’80s disco track. Having to disassociate from humiliation in a stranger’s living room was not my first choice, but impersonators on a Marilyn Monroe For Hire website had all ghosted me.
When I finished recording the musical portion, I sent out an MP3 along with the script so readers could listen along. Our cinematographer, Matt Pothier, called me and said, “I don’t know how exactly we’re going to shoot this, but that’s what excites me about it.” We were similarly curious and enthusiastic about the film's challenges. We spent hours investigating the visual world of the film, making sure the first and second half could coexist, while allowing for more creative use of the camera as it unfolds into the lip-sync. We were also conscious about pacing, with long shots to invoke a voyeuristic and dramatic effect, and an icy-fast pace in between those moments. This choice was further realized and leaned into in the editing room with Will Mayo.
The film examines power dynamics with Hollywood as its backdrop. It also celebrates the art of drag and how it can be used as a tool to process trauma through the creation of an alter ego. We thought deeply about the use of surprise and playfulness as tools to invite the audience into the film while engaging with its heavy theme.
The drag artist Lypsinka’s telephone performances were an influence, re-contextualized as an opportunity for the drag performer to turn down the initial invitation from their abuser. I was also reading Janna Levin’s book Black Hole Blues, and felt a clear parallel between large heavy masses that curve space-time, and how power and fame can act as a weight, warping the perception of those who have it and those surrounding them.
Cole Doman, who was shooting in New York, arrived in LA two days before filming. On those mornings, half awake and half dressed, we would dance disco in the living room, choreographed by powerhouse Ryan Walker Page.
Directing and acting is a challenge of being in two minds at once. It's a delicate balance that, without the right team, can all fall apart. I was fortunate enough to work with some exceptional collaborators in every department on Starfuckers, and I am delighted and proud to have it available for the MUBI audience.