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The Selling

The Selling

2011

Not Rated

Director

Emily Lou

Runtime

92 minutes

Average Rating

No ratings yet

Synopsis

For most people affected by the recent housing market crash, the impact was financial. Super nice real estate agent Richard Scarry has an additional burden: the paranormal.

Where to Watch

Diversity & Representation

Overall Score

4.3/10

Fair


Category Breakdown

LGBTQ+ Representation

Fair

The film lacks explicit evidence of LGBTQ+ characters or narratives. The story focuses on a protagonist navigating professional and paranormal challenges, which may center on conventional social structures.

Gender Representation

Fair

Top-billed actresses like Janet Varney and Etta Devine suggest a gender-diverse cast. However, the narrative focus remains on the male protagonist, Richard Scarry.

Racial & Ethnic Diversity

Limited

While the cast includes various performers, the setting of a housing market crash often defaults to homogeneous socioeconomic environments. There is little evidence of the film challenging racial hierarchies.

Religious & Cultural Diversity

Fair

The story explores the intersection of capitalism and the supernatural. It follows a 'super nice' protagonist, suggesting an adherence to traditional moral archetypes rather than systemic deconstruction.

Disability Representation

Minimal

There are no identifiable depictions of visible or invisible disabilities. No characters are framed through the lens of neurodivergence or physical impairment.

Strengths

  • The top-billed cast includes a variety of performers, suggesting some level of gender diversity.
  • The independent comedy framework allows for character-driven idiosyncrasies.

Areas for Improvement

  • The narrative lacks visible LGBTQ+ agency or non-heteronormative identities.
  • The setting and premise may default to homogeneous socioeconomic and racial environments.
  • There is a lack of representation regarding physical or neurodivergent disabilities.

AI Analysis

The Selling operates primarily within conventional genre boundaries, focusing on the intersection of professional crisis and paranormal elements. While the cast features a range of performers, the narrative lacks explicit identity-driven storytelling. The film appears to prioritize character-driven comedy over systemic social critique. This results in a production that follows traditional archetypes rather than disrupting established social or cultural hierarchies. Ultimately, the film functions as a standard genre piece. It lacks the documented thematic depth required to address broader issues of representation or intersectional identity.

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