
The 11,000 Sexes
1975

1972
XDirector
Arthur Meyer
Average Rating
No ratings yetSynopsis
An erotic satire that parodies the styles of Fellini, Busby Berkely and Woody Allen, THE RISE AND FALL OF THE WORLD depicts the sexual fantasies of a suburban couple as it explores the follies and foibles of sexual mores and practices.
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film centers on the sexual fantasies of a suburban couple. While the erotic satire genre often explores non-traditional sexualities, there is no clear evidence of queer agency or specific LGBTQ+ identities.
Gender Representation
The narrative uses satire to explore sexual mores and the follies of social practices. This approach likely disrupts conventional suburban expectations and traditional gender roles through a comedic lens.
Racial & Ethnic Diversity
The suburban setting suggests a likely homogeneous white demographic typical of 1972 cinema. There is no evidence of diverse racial or ethnic casting within the narrative.
Religious & Cultural Diversity
By parodying established cinematic styles, the film challenges traditional religious and moralistic frameworks. It aligns with the era's move toward moral relativism and questioning social hierarchies.
Disability Representation
The film provides no mention of characters with visible or invisible disabilities. There is no information available to assess representation in this category.
Strengths
Areas for Improvement
AI Analysis
This erotic satire functions as a postmodernist critique of social mores, using parody to deconstruct the stability of the suburban household. It leans into the era's burgeoning interest in questioning traditional morality and religious frameworks. However, the film remains limited by its era's demographic tendencies. The focus on a suburban couple suggests a lack of racial diversity, and the absence of specific queer identities prevents a deeper exploration of intersectional themes. Ultimately, the work sits between traditional social constraints and the subversive potential of 1970s satire, offering thematic subversion without verifiable identity-driven agency.

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