But I-m A Cheerleader May 2026

Twenty-five years after its release, But I'm a Cheerleader is no longer just a cult classic; it's a cornerstone of queer cinema. Directed by Jamie Babbit and starring a then-unknown Natasha Lyonne, the film is a vibrant, stylized, and unapologetically camp takedown of conversion therapy, heteronormativity, and the absurdity of trying to "cure" someone of their authentic self.

The brilliance of the film is its aesthetic. The world of True Directions is a hyper-saturated, almost nauseatingly cheerful pastel nightmare. The camp looks like a Barbie Dreamhouse designed by a Stepford Wife. This exaggerated artificiality forces the viewer to see the performance of heterosexuality—the gender roles, the enforced rituals, the denial of self—as the ridiculous construct it is. But I'm a Cheerleader is drenched in camp. From the heart-shaped bed in Megan's room to the "straight is great" posters at the camp, every detail is dialed up to eleven. The conversion therapy program itself is a parody: boys learn to chop wood and fix cars, girls learn to clean, cook, and walk gracefully in heels. But I-m a Cheerleader

By making the "therapy" so cartoonishly absurd, the film strips it of any perceived legitimacy. The "techniques"—like hitting a dummy shaped like a same-sex parent, or watching slideshows of "healthy" heterosexual couples—are shown not as science, but as brainwashing. The campiness serves as a shield, allowing the film to tackle a deeply traumatic subject (conversion therapy) without becoming unbearably grim. Instead, it exposes the inherent absurdity of the premise: that love between two women is a "disease" requiring a cure. Underneath the layers of satire is a genuine, tender romance. At camp, Megan meets Graham (Clea DuVall), a brooding, cynical "incorrigible" lesbian. Graham has been to True Directions before and sees through the whole charade. Twenty-five years after its release, But I'm a