Within some exploitation ideals (Africa Addio, the excellent Goodbye Uncle Tom), the brutality and terror were matched by a semblance of reality, but for the most part, Hollywood hates the idea of making a movie about what really happened.
An early scene in which slave trader Theophilus Freeman (Paul Giamatti) prods naked slaves for the benefit of prospective buyers offers an alarming yet in-no-way-arousing corrective to an equivalent sequence in the tasteless 1971 mock-doc “Goodbye Uncle Tom,” which lingers on the nudity and degradation of such a market.