I make explicit films about my own life. I have been doing it for fifteen years. In that time, I have won 363 international film festival awards, been photographed for Rolling Stone, and accumulated 264 million views.
I have also been removed from Vimeo, defunded by Patreon, terminated by PayPal and Stripe, and classified as a pornographer by every major payment processing company in the world.
These two sets of facts exist simultaneously. They are not contradictions. They are a description of what it means to be a female erotic art filmmaker in the internet age.
The Double Standard
Male filmmakers have always been able to use the female body as artistic material. The history of cinema is largely a history of male directors filming women — their bodies, their faces, their sexuality — and being celebrated for it. Ingmar Bergman. Jean-Luc Godard. David Lynch. Stanley Kubrick. The explicit female body in their work is called art. The explicit female body in mine is called pornography.
The difference is not the content. The difference is the author.
When a woman films her own body, she is presumed to be making herself available for consumption. When a man films a woman’s body, he is presumed to be making art. This presumption is so deeply embedded in the institutional architecture of content distribution that it functions automatically — in platform algorithms, in payment processor risk categories, in the instinctive responses of people who encounter the work for the first time.
What Platform Censorship Actually Feels Like
The first time Vimeo removed my films, I appealed. The appeal process consisted of filling out a form. The form was reviewed by a moderator — a person I will never meet, whose name I will never know — who decided, again, that the films were pornography. No viewing. No consideration of context, intent, or the body of work. Just a category box, checked.
215 OBSCENE EXPOSURE is a film specifically about this experience — about what it means to have your life’s work categorised out of existence by a person or system that has not engaged with it. It won Best Web Series at multiple international festivals. It cannot be hosted on Vimeo.
The Patreon removal came in 2020. At the time, I had been building a supporter community for years. The termination notice gave me two weeks to migrate to a different platform. No alternative payment infrastructure existed. The community fractured. The income stopped.
The Festival Circuit as Evidence
Film festivals exist to evaluate whether work has artistic merit. Over the fifteen years of the Future Sex Love Art Projekt, I have submitted films to hundreds of international festivals and been awarded 363 times. The juries at those festivals — film professionals whose job is to distinguish art from entertainment from commerce — have consistently classified this work as cinema.
The film 223 NAKED won Best Experimental Film. 218 FEELOSOPHY won Best Web Series. 163 THIS IS NOT MY SKIN won multiple awards across three continents.
None of those films can be distributed through conventional online channels.
Why I Keep Making Them
There is no clean answer to why you spend fifteen years making 230 films that the distribution infrastructure of the internet has decided do not deserve to exist.
Part of it is that the films are true. They are made from my actual life, my actual body, my actual history. Stopping making them would mean deciding that my life is not a legitimate subject for art — which is exactly the decision that the platforms have already made on my behalf.
Part of it is that 264 million people have watched them. Those views are not metrics. They are contact. They are evidence that the work reaches people, that it matters to people, that it does something that straight pornography and mainstream cinema both fail to do: it tells the truth about female sexuality from the inside.
And part of it — the part I find hardest to articulate — is that the resistance itself is a kind of confirmation. If this work were harmless, it would not have been removed fifteen times. The fact that it keeps getting deleted is evidence that it keeps saying something true.
Browse all 230 films at missyjubilee.com/films.