
This Is America Part 2
1980

1977
RDirector
Romano Vanderbes
Runtime
97 minutes
Average Rating
No ratings yetSynopsis
Inspired by shock-documentaries like Mondo Cane, this film looks at the wilder side of life in America. Starting off with the bloodier side of the American car culture by showing a series of crashes at race events, the film then goes on to lesser-known sexual practices. Included among these is a porno movie award show, a nude beauty contest, a sex therapy session, and a detailed explanation of where dildos come from.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film explores non-normative sexual practices and behaviors that deviate from heteronormative standards. However, it lacks explicit confirmation of specific queer identities or character-driven arcs.
Gender Representation
Representation centers on the spectacle of gendered bodies through nude beauty contests and sex therapy. It departs from conservative depictions but lacks evidence of women exercising true agency.
Racial & Ethnic Diversity
The film provides no specific details regarding the racial or ethnic composition of its subjects. Its focus on car culture and sexual subcultures leaves this aspect unverified.
Religious & Cultural Diversity
The documentary adopts a posture of moral relativism by centering on transgressive social behaviors. It challenges traditional Western values and the sanctity of the conventional family unit.
Disability Representation
There is no evidence that the film addresses neurodivergence, physical disabilities, or mental health conditions with any meaningful agency or representation.
Strengths
Areas for Improvement
AI Analysis
This documentary functions as a study of social transgression, utilizing a shock-documentary lens to disrupt conventional American morality. It succeeds in deconstructing social taboos by highlighting subcultures that exist outside mainstream norms. However, the film lacks intersectional depth. While it critiques social conformity through its focus on 'deviant' behaviors, it fails to provide specific identity-based narratives or meaningful representation for marginalized groups. The work remains more of a spectacle of the taboo than a structured exploration of identity, prioritizing the disruption of decorum over the agency of its subjects.

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