Filmmaker Thomas Keith, a professor of philosophy at California State University, Long Beach, provides an engrossing look at the forces in male culture that condition boys and men to dehumanize and disrespect women. Breaking down a range of contemporary media forms targeted explicitly at young men, Keith teases out the main maxims of “bro culture” and “the bro code,” and examines how this seemingly ironic mentality reinforces misogyny and gender violence in the real world. Whether he’s looking at movies and music videos that glamorize womanizing, pornography that trades in the brutalization of women, comedians who make fun of sexual assault, or the recent groundswell in men’s magazines and cable TV shows that revel in reactionary myths of American manhood, the message Keith uncovers in virtually every corner of our “entertainment” culture is clear: that it’s not only normal — but cool — for boys and men to control and humiliate women. Along the way, The Bro Code makes a powerful case that there’s nothing normal, natural, or inevitable about this toxic ideal of American manhood, and challenges young people to fight back against the resurgent idea that being a “bro” — and a man — means glorifying sexism, bullying, and abuse.

Analysis from experts and personal insights from college students guide this illuminating examination of the cultural, medical, and psychological dynamics of disordered eating. Focusing on the stories of seven college students, the film looks at the clinical considerations involved with anemia and bulimia, and unpacks the extremely difficult personal dimensions of these illnesses. Along the way, the film offers valuable information about how to recognize the symptoms of eating disorders, and highlights proven strategies for recovery and healing. 

Pornography is a topic that leaves few people indifferent, least of all Andrea Dworkin, feminist activist and author of Pornography: Men Possessing Women and Intercourse. This program confronts the one with the other. The result is an unnerving exposé of the pornography industry and its implications for wider questions of sexuality and violence—not so much a portrait of Andrea Dworkin as an account of the struggle she and other women are waging against what they perceive as a radical social evil.