Itty Bitty Titty Committee

Directed by Jamie Babbitt
Power Up

Jamie Babbitt’s directorial follow-up to But I’m a Cheerleader was the dark drama The Quiet, starring Elisha Cuthbert as a popular teen that has a secret sexual relationship with her father. There isn’t much happiness or comic relief in the film, making it a stark contrast to her hit indie, quirky comedy about a camp for ex-lesbians (starring Natasha Leonne and Clea Duvall). Lucky for her lesbian following, Babbitt’s new film, Itty Bitty Titty Committee is almost as gay and hilarious — almost.

From the beginning of the film, viewers are trying to figure out Anna (Melonie Diaz), the protagonist. She’s out to her family, who takes no issue with her sexuality, and spends most of their time doting on her older sister, who is getting married. Anna is quiet and dresses for comfort in jeans, long-sleeved T-shirts and hoodies. She works as a receptionist at a plastic surgery office, uninspired, until she catches Sadie (Nicole Vicius) tagging her office with “A Woman is More than Her Parts” late one night. A Joey Lauren Adams look-and-sound-alike, Vicius is certainly a heartbreaker, but her character is emotionally unavailable, as Anna will come to find out the hard way. Sadie (strangely and without much discourse) invites Anna to a meeting of feminist minds, a group called Clits in Action (C.I.A.) and Anna, with nothing to do on her social calendar, accepts.

The C.I.A. is a tamer version of the Guerilla Girls, an activism-meets-feminist-art gaggle, despite their efforts to make change being distorted or ignored, that is unofficially led by Shuli (Carly Pope), who is a walking encyclopedia of feminist facts and theory to back up any comment or idea in question. She gives Anna a hard time, at first, but the group warms to the idea of a new member.

Of course, it wouldn’t be a lesbian film without some obligatory sex scenes (not nearly as romantic as Graham/Megan’s passionate under-blanket exploration to the tune of Tattle Tale’s “Glass Vase Cello Case” in BIAC.) Also somewhat forced is the soundtrack, which is mostly riot grrrl ‘90s Bikini Kill and Heavens to Betsy. This wouldn’t be an issue if the characters weren’t going to see bands that were playing “Rebel Girl” live, and it’s supposed to be modern day. This is most likely a non-issue for viewers unaware of when the music was written and that the bands playing it are no longer together.

Babbit’s presentation of feminism is one-dimensional in the film: largely white, radical third wave views that don’t address sexuality, race or class issues. The group’s work is marginal in their home city of Los Angeles, and not nearly as much time is devoted to the prospering of the group as is dedicated to Anna’s longing for Sadie, despite the latter being involved in a long-term relationship with an older, more established woman whose house she lives in.

Itty Bitty Titty Committee is well written, with lesbian and feminist viewers in mind. Cameos from Daniela Sea, Jenny Shimizu and a one-second clip of Clea Duvall are enough to give it an extra push into the forefront of all other “lesbian” films. However, the title is a little off (as the term is not mentioned except in passing at the end of the film), and the ending is a little far-fetched, but the cast and funny approach to feminism makes it worth a watch.

Review by Trish Bendix