You are here:

Beauty #2

Name: Beauty #2
Director: Andy Warhol
Released: 1965
Duration: 66 min

Representation Score

4.1/10

Fair

1965

Director

Andy Warhol

Runtime

66 minutes

Average Rating

No ratings yet

New Showbiz Analysis

Andy Warhol’s experimental approach deconstructs traditional cinematic hierarchies through static takes and unscripted interactions. The film focuses on human interaction rather than a structured narrative, highlighting the tension between subjects and an unseen authority. While the work doesn’t feature multi-layered casting or explore specific identities, it successfully subverts gendered power dynamics. The protagonist transitions from being observed to becoming an agent of rebellion, providing a progressive yet raw cinematic moment. Ultimately, the film's strength lies in its refusal to follow conventional Western storytelling, favoring subjective experience and moral ambiguity over polished, predictable resolutions.

Watch this, not that →

Category Breakdown

Does Beauty #2 have LGBTQ+ representation?

Fair

The film showcases non-traditional interpersonal dynamics through casual intimacy between Sedgwick and Piserchio. Sexual orientation isn't explicitly defined, but the work emphasizes non-standard interactions over typical romantic clichés.

How does Beauty #2 portray gender?

Good

Sedgwick is a central figure who actively resists external provocations. Her final act of defiance against an intrusive male voice replaces submissive clichés with active, volatile resistance.

How racially and ethnically diverse is Beauty #2?

Minimal

There is insufficient information regarding the racial or ethnic composition of the cast to provide an evaluation.

How does Beauty #2 represent religion and culture?

Good

The film critiques mainstream moral structures through ad-libbed dialogue and a lack of resolution. It uses social interaction to challenge systemic pressures and traditional decorum.

Does Beauty #2 include disability representation?

Minimal

The film does not include any information about neurodivergence or physical disabilities.

Present on Screen

Subverts traditional gender hierarchies by emphasizing female resistance and ability to act.
Challenges voyeuristic cinematic norms through its radical, non-traditional structure.
Rejects mainstream moralizing in favor of subjective, avant-garde experience.

Limited or Absent

Lacks explicit exploration of specific LGBTQ+ identities or themes.
Does not provide visible evidence of racial or ethnic diversity within the cast.
Fails to address disability or neurodivergence in its presentation.

Official Synopsis

The movie has a fixed point of view showing a bed with two characters on it, Sedgwick and Piserchio. Chuck Wein is heard speaking but is just out of view. Sedgwick is wearing a lace bra and panties, and Piserchio, wearing only jockey shorts, engage in flirting and light kissing. Wein asks Sedgwick questions seemingly designed to harass and annoy her. Piserchio is more or less a bystander not interacting with Wein. The dialogue seems created adlib and no conclusions are reached in the film. The only conceivable climax is when Sedgwick finally becomes so mad, she throws a glass ashtray at Wein, breaking it.

How are these scores produced? →