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Everybody He Is Nice, Everybody He Is Beautiful

Everybody He Is Nice, Everybody He Is Beautiful

1972

Director

Jean Yanne

Runtime

105 minutes

Average Rating

No ratings yet

Synopsis

Selon "Radio plus près de Dieu", rien n'est conçu sans Dieu, surtout pas les shampoings, produits de beauté, la vente des disques... Un animateur dénonce cette escroquerie à l'antenne, ce qui lui vaut d'être licencié. Il réapparaîtra sur de nouvelles ondes avec "Radio plus près de la Vérité".

Where to Watch

Diversity & Representation

Overall Score

5.5/10

Fair


Category Breakdown

LGBTQ+ Representation

Limited

The film lacks visible queer narratives or non-cisnormative identities. The focus remains strictly on media ethics and religious skepticism.

Gender Representation

Fair

The story centers on a male protagonist's professional struggle. This traditional structure suggests a narrative that does not prioritize subverting gender hierarchies.

Racial & Ethnic Diversity

Limited

The film appears to be a localized French satire. It likely reflects the demographic homogeneity typical of 1972 French cinema.

Religious & Cultural Diversity

Excellent

The narrative offers a sharp critique of the intersection between religion and capitalism. It challenges the sanctity of both the church and the marketplace.

Disability Representation

Minimal

There is no evidence regarding the portrayal of physical or neurodivergent characters in this work.

Strengths

  • Strong narrative engagement with themes of secularism and institutional critique.
  • Effective deconstruction of the relationship between religion and capitalism.
  • Provocative exploration of moral relativism and systemic deception.

Areas for Improvement

  • Lack of intersectional demographic diversity in the cast.
  • Absence of visible LGBTQ+ or non-cisnormative identities.
  • Limited representation of diverse racial and ethnic backgrounds.

AI Analysis

Jean Yanne’s satire provides a biting critique of institutional power, specifically targeting the corruption within religious and commercial media. By deconstructing the performative nature of social facades, the film engages deeply with themes of secularism and systemic deception. However, this intellectual depth does not translate to demographic variety. The film lacks representation across LGBTQ+, racial, and gender lines, adhering to a more traditional and homogeneous casting model common to its era. Ultimately, the film is a study in cultural subversion rather than social inclusivity. It succeeds in challenging established hierarchies while remaining narrow in its human representation.

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