In a revealing documentary, a looksmaxxing-influenced world where ‘your social capital is tied to your appearance’ has led to more men wanting more

Man’s obsession with his member is a tale as old as time, writ large in sky-scraping edifices, in allusions that flatter (big dick energy) or offend (prick), in the countless artifacts across the ages that venerate male potency – a porn star’s description of Donald Trump’s “toadstool” penis. But it’s the booming intimate wellness industry – AKA the rash (ahem) of fillers, therapies and cosmetic procedures that have come into vogue since the little blue pill rocked the market – that most intrigued Daniel Lombroso, the esteemed documentarian who made his name at the Atlantic and the New Yorker dissecting male fragility.

“A lot of the stories I worked on at those places were kind of fringy subculture and oftentimes adjacent to white nationalism,” says Lombroso, who became aware of the rising demand for penile enhancement procedures while reporting on plastic surgery trends at the New Yorker. “I started calling all these practitioners. But to make an embedded film the way I do, you need someone who’s very open.”

For Halloween, Guardian writers have picked the most efficiently terrifying films outside of the horror genre from How to Have Sex to The Hunchback of Notre Dame

Minor spoilers ahead

Hiding in plain sight throughout Lee Chang-dong’s deliciously enigmatic Burning, in which a spirited young woman (Jeon Jong-seo) disappears, and a wealthy playboy (Steven Yeun) gives serial killer vibes, is a disaffected male rage. That’s perhaps the most commonplace horror of our times, whether on the internet or politics, and you feel the tremors of it steadily breaking the surface in Yoo Ah-in’s performance. He plays Jong-su, an aspiring writer, quietly frustrated with his lot in life. Jong-su works odd jobs and tends to his incarcerated father’s dilapidated farm, growing more desperate to grasp some sense of control over the world around him, which is where the scary part comes in. Lee is the master dramatist who with Burning tilts violently into thriller territory, navigating elements from Taxi Driver, The Vanishing and Michael Haneke’s Caché, using the language of horror movies to conjure up a creeping anxiety and dread that erupts into pure existential fear. Radheyan Simonpillai