Cardboard Communism: Bruce La Bruce's Raspberry Reich

The thing about Bruce LaBruce's Raspberry Reich is that I really like it's melding of gay pornography and late-60s Godard-like communist commentary(La Chinoise, Made in USA), except for the fact that the image, the acting and the sound makes it sometimes seem like a highschool video project.
Provocative as it is (or seems to be), it doesn't really get as daring as early John Waters, or as edgy and imaginative as some of the pieces considered as the Cinema of Transgression ( Nick Zedd, Jon Moritsugu), or care about any of it's characters (or even the glossy performances), like you might see in the aforementioned or in a Paul Morissey film. Though it tells a story that you'd find in any of these cult-camp classics--a rich industrialist's son is kidnapped by a communist terrorist group that believes the only route to the revolution is via a homosexual infitada, a sexual revolution, and the son is going to be "tortured" sexually until the rich industrials gives into their demands (for publicity)--it's difficult to get beyond the blah production values. But then again, maybe that's the point. It's supposed to simulate the overlit, poorly acted aesthetics of gay porn.
Bruce LaBruce, a former porn star and now celebrated provocateur, shoots everything in video, sloppily shot and edited in Final Cut (I recognize the effects). While it is heartening to see a feature-length film shot and edited on affordable equipment, the results are less than cinematic. I was wondering then, afterwards, why I kind of liked the movie?
Everyone is enjoying themseleves, in the way that you and your high school friends might enjoy yourselves if you were trying to have fun, be silly, and make a movie about sex and radical politics (really not much more than a lot of sloganeering). It sort of has a fragment of the spirit of John Water's earlier films--but it's missing some of the panache, the absurdity, and of course a true performer like Divine. Still, I admire the film's commitment to staying inside a cheap, mass-production porno aesthetic, while having a content about a prospective sexual revolution. It's sort of like Fassbinder's Der Dritte Generation mixed in with the flat cardboard-ness of a porn.