Body Parts

Even though many of the segments are brief, Guevara-Flanagan does a remarkably thorough job in covering such a wide range of areas. The only complaint one might have about Body Parts is it easily could have been twice as long.

Objects become subjects in Kristy Guevara-Flanagan’s sweeping yet focused analysis that exposes the truth about the power of images to shape the world’s views of women.

The film works best when it gets into the nuts-and-bolts of the sex scenes themselves, past and present.

Body Parts has a lot to say about onscreen objectification, but it would benefit greatly if — like Quentin Tarantino’s camera on a young woman’s feet — it maintained its focus.

While Body Parts is a smart film and a useful primer on big questions about filmic representations of sex and desire, one wishes its conclusions were more nuanced.

Body Parts has too many ideas running through it to cohere around an effective thesis statement, framing the entire narrative as one of linear progress toward inclusion. It unravels in too many different directions, cramming in first-person testimony, historical overview, and social context into a too-short runtime.

Ironically, the film mirrors the callow cinematic dynamics it critiques: It titillates, even as it scolds.