Rude (1995, 89), the first African-Canadian-directed feature film, was a critical triumph but ran into the usual Canadian “first feature” box office sluggishness. Its four interwoven narratives present inner city characters struggling to prevail against social, economic and cultural constrictions, including Jordan, a gay boxer enacting a stunning coming out process, which infallibly made every audience “lose it,” according to the director. Rinaldo Walcott has argued that Virgo’s effort “to bring a critical discussion of sexuality to black Canadian cinematic representations is mangled” by his inability to be “pedagogical about the ethical relations of race, sexuality and community in a way that does not necessarily produce a victim” (1). But guts is guts, and the decidedly non-victim bashee’s defiance of his “muscle-bound steroid-taking pussy-eating freak” assailants, based on a real life character recollected from Clement’s adolescence, has already ensured the story’s status as one of the most resilient queer film fictions of the decade: “You know what you niggers’ problem is? —no one’s ever come in your mouth.”