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Nina Hartley as a porn director fighting the patriarchy with strap-ons and satire. Yes, God is played by Annie Sprinkle.
TMDB
30
IMDb
32

Bubbles Galore (1996)

campy as hellsex-positive chaosindie Canadian weirdness

Overview

Comedy

A bisexual female pornographer searches for sexual and economic independence in a male-dominated industry. But most of all, the girl just wants to have fun.

Flag of CACAFlag of USUS
Content warning
sex work labor rightsfemale sexual agencycapitalism vs. liberationqueer chosen family

Standout Aspects

Acting

Nina Hartley's comedic timing—who knew?

Direction

Cynthia Roberts' guerrilla feminist vision on no budget

Costume

Deliberately tacky porn aesthetics as political statement

Best for:Solo: Late night when you want something unhinged and genuinely radical·Friends: With your most unshockable, film-literate pals who get camp
Heads up:Sexual Content: Extensive nudity, simulated sex acts—it's literally about porn production·Language: Campy but crude dialogue throughout
C

Director

Cynthia Roberts

ReleasedAug 25, 1996
Runtime1h 34m
StatusReleased

Vibe

Pacefast
Intensitymedium
Tonelight
Feellight
Téléfilm Canada

Top Cast

Nina Hartley

Nina Hartley

Bubbles Galore

Tracy Wright

Tracy Wright

Vivian Klitorsky

Daniel MacIvor

Daniel MacIvor

Godfrey Montana

Annie Sprinkle

Annie Sprinkle

God

Raven

Raven

Starlet

Thea Gill

Thea Gill

Orgasmic Angel

Kirsten Johnson

Kirsten Johnson

Godfrey's Mother

Wendy White

Wendy White

Chesty

Sigrid Johnson

Sigrid Johnson

Starlet

Rosalba Martinni

Rosalba Martinni

Head Angel

Ask about Bubbles Galore

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Deep Dive

Trivia, insights & behind the scenes

Trivia

Annie Sprinkle's casting as God wasn't stunt casting—she and director Cynthia Roberts were collaborators in New York's downtown performance art scene. Sprinkle had already pioneered 'post-porn modernism' as both academic and performer.

Cultural

Made during the 'feminist sex wars' of the 1990s, when anti-porn feminists like Catharine MacKinnon and Andrea Dworkin held serious institutional power. Roberts' film is a deliberate middle finger to that movement—Bubbles never apologizes for loving her job.

Gallery

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