Its focus is firmly on the US custom that began in the late 19th century, peaked in the 1960s - so that the great majority of middle-aged US men have no foreskin (nor any knowledge of it except folklore, largely wrong) - and is declining much more slowly than it has in the rest of the English-speaking world.
I especially appreciate the way it made use of genital cutting advocates, by simply letting them say their piece and then presenting the facts that undermine their arguments. In this sense the film was "balanced" but the balance of the facts is firmly against the custom, as the rest of the developed world silently shows.
In the segment on Female Genital Cutting, the advocate Fuambai Sia Ahmadu could say how she thought it benefitted her, and spell out the similarities to Male Genital Cutting - contrary to popular opinion - herself. FGC was briefly sanctioned by the American Academy of Pediatrics in 2010, in the form of a token ritual nick, "much less extensive than routine newborn male genital cutting" in the AAP's own words. Only an outcry by Intactivists and then feminists caused the policy to be "retired" within a month.
The editing between speakers was excellent, some seeming almost to complete each other's sentences. We could have seen a bit less of the Capitol building as wallpaper: a Federal age-restriction on male genital cutting, like that on all female cutting including the most exact equivalent, is not likely any time soon. One striking omission was any actual photograph of a normal adult penis, or the unique rolling action of the foreskin, much easier to show than to describe. It's not just a "flap". It is a shame that the film seems to have succumbed to the same reluctance to be explicit that has so helped the custom to become the US norm.
Particularly striking was the contribution of Shannondoah Dartsch, a mother who had only learnt the previous day that what had been bothering her about her son's operation was in fact a botch (buried penis). The lack of good data on the frequency of such negative outcomes was one focus.
The many people working on this multi-facetted issue, each speaking in their own specialties, were all very well captured in all their idiosyncracies. Marilyn Milos grew tearful describing how she can never apologise enough to her sons, but how her work against the custom offers some solace - cut to the rather strange Australian scientist Brian Morris, mocking her "emotionalism".
Male genital cutting advocate and former AAP Circumcision Task Force chair Edgar Schoen's heartlessness towards men who do complain spoke for itself. One of those was (was) the very personable Jonathon Conte who described how it contributed to his depression ... the film is dedicated to his memory.