Daniel Lombroso’s documentary Manhood examines the expanding market for penile-enhancement procedures and the insecurities driving men to seek them. The film places male self-esteem, loneliness and appearance-based social pressure at the center of an industry built around fillers, therapies and cosmetic interventions.
Lombroso, who previously reported on male fragility for the Atlantic and The New Yorker, became interested in the subject while covering plastic-surgery trends. A 2024 study of US Google searches found growing interest in penile-enhancement injections between 2013 and 2022.
The film follows Bill Moore, a Dallas-based businessman who markets outpatient procedures costing between $15,000 and $20,000. Moore is not a doctor, but presents the treatments as potentially transformative for customers’ careers, sex lives and emotional wellbeing. His company, PhalloFill, specializes in “girth enhancement” and has expanded to 32 locations in the US, with Moore hoping the procedure will become as common as Botox.
Among the customers featured is Ruben, a father of five who becomes so focused on enlarging his penis that he moves his family in with an ex-partner to raise money for the procedure. He listens to discussions about the marginalization of men and performs at comedy open mics, while believing that the operation will help him protect and provide for his family. His choices instead place increasing strain on his marriage to Lana, who is largely opposed to the treatment.
Another central story follows David, a young man seeking help after suffering damage from an earlier enhancement procedure performed by Victor Loria, a dubious practitioner portrayed as the film’s villain. David’s participation was difficult to secure, according to Lombroso, who initially considered using AI face replacement to protect his identity. After seeing an early version of the film, David agreed to appear and has since toured with it.
The documentary also highlights the contradictions surrounding Moore, who offers customers patience and empathy while selling procedures through a business model that benefits from their anxieties. Lombroso connects the demand for enhancement to the broader “looksmaxxing” culture, in which appearance is seen as a form of social capital, while questioning whether penis size has any meaningful effect on the lives of the men who obsess over it.
Rather than presenting a direct verdict, Manhood approaches its subjects with what Lombroso describes as a light touch. The film explores the industry’s uncomfortable blend of commerce, shame, masculinity and emotional vulnerability without telling viewers exactly how to interpret each moment.
Manhood is now playing in selected US cinemas. UK and Australian release dates are yet to be announced.
Sources: The Guardian Film.