I’m speaking for myself here, but perhaps the appeal (along with Korine’s resume) lies within that fact that IT IS polarizing. Most the direction and vision is off the books, not trying to conceal any more personality than the one presented on screen.
Where Gummo’s significance is prevelant is the fact that most of us are accustomed to the illusion of finding tranquility through small luxuries and excess. Despite the harsh and sometimes replusive conditions those unfortunate live under, there is still a sense of beauty and admiration for what is left. And yes, we may be confused/disturbed by surreality of their actions, but the love among characters and their surroundings is still there and I think Harmony accomplished that exceedingly well.
As for the bacon scene, your guess is as good as mine. I always figured it had to do with this idea that Harmony discussed one time that sometimes the most ignored views are the most awe-inspiring. Which makes his filmmaking aesthetic all the more complex and intriguing.
I’m not saying that I’m right, but for me Gummo is a prime example of change for every aspect in the medium and one of the most postmodern films of the past 20 years.