S.L.Īdèle Haenel and Noémie Merlant in Portrait of a Lady on Fire Pyramide Films Varda’s feminist vision embraces love, whimsy, joyful bohemia and tenderness no less than healthy anger over injustice. Made by one of cinema’s great innovators, this melodrama with songs (lyrics by Varda) unfolds against the political awakening of the 1960s and ’70s, when gender roles and the idea of family were being questioned and reinvented. “Free will is philosophy in action,” the feisty teen proclaims, and when she and Suzanne meet again, 10 years later, they’re both participating in a courthouse protest over an abortion trial. That bond is forged when Apple (Valérie Mairesse), a 17-year-old with a fiercely independent streak, secures the money needed for her new friend Suzanne (Thérèse Liotard), an overwhelmed mother of two toddlers, to have a safe abortion - across the French border, in Switzerland. Thérèse Liotard and Valérie Mairesse in One Sings, the Other Doesn’t Courtesy of Toronto International Film FestivalĪgnès Varda’s ode to female friendship and women’s liberation traces the bond between two young women over a dozen years, beginning in 1962. But it’s perhaps better defined as a moving snapshot of female friendship, solidarity and bravery. The teen-abortion factor tags this as an issue drama, and in the most unconventional way, it is - raw, haunting and painfully real.
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There’s never a showy moment in either of the lead performances, and yet we come to know these two young women intimately during a journey more often traveled in silence than conversation. The awful solitude of her predicament is countered by the warmth of the girls’ closeness. Autumn (Sidney Flanigan) and Skylar (Talia Ryder), her steadfast cousin, embark on an unsettling odyssey from Pennsylvania to New York, where Autumn can end her pregnancy without parental consent. Sidney Flanigan in Never Rarely Sometimes Always Courtesy of Sundance InstituteĪ transfixing account of a small-town teenager dealing with an unplanned pregnancy, Eliza Hittman’s drama offers a candid and clear-eyed contemplation of abortion as a choice arrived at not with hand-wringing but with sobering pragmatism. Wade - and what we stand to lose if those rights are taken away again. In doing so, Dirty Dancing stands as a stark testament of what was gained with Roe v. Rather, the film lays the blame for her ordeal on the economic and legal barriers that kept Penny from a safer procedure. “I could hear her screaming in the hallway.” Notably, however, Penny’s choice to abort in the first place is never questioned - not even by Baby’s strict father, a doctor who helps her heal afterward. Set in the 1960s, the drama sees a working-class girl named Penny (Cynthia Rhodes) left in immense pain after a botched back-alley abortion: “The guy had a dirty knife and a folding table,” her friend bitterly recalls. But at the heart of Eleanor Bergstein’s script is a clear and unapologetic argument for reproductive choice. Whether they’re downbeat, melodramatic, harrowing or tinged with comedy, these movies’ intelligence and sensitivity deepen our understanding of women’s experience.Ĭynthia Rhodes and Patrick Swayze in Dirty Dancing Vestron Pictures/courtesy Everett Collectionĭirty Dancing‘s cultural legacy may be most strongly associated with Johnny and Baby’s sizzling chemistry and sweet dance moves.
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Here, THR critics look at 12 films that explore reproductive choice as a crucial aspect of women’s lives.
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With generally greater artistic license on the big screen, abortion has been a perennial subject for filmmakers around the world.
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Frequently, American television falls back on abortion being a thing characters talk about on-camera, do off-camera and then never speak of again, which makes Shonda Rhimes’ Scandal and Grey’s Anatomy, and the way the procedure impacted Olivia Pope and Cristina Yang, respectively, so important, contextualizing and complicating the choice made by those strong characters.
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It’s still incredibly rare to find TV comedies dealing with actual abortions (see: GLOWand The Handmaid’s Tale), though shows like Girls and Sex and the City used it as a conversation piece. It’s been 49 years since the two-part “Maude’s Dilemma” - written by future Golden Girls and Soap creator Susan Harris - premiered, but the choice faced by Bea Arthur’s title character, finding herself pregnant at 47, and the determination of Norman Lear’s show to discuss that choice in depth, and engage in a nuanced debate, would be provocative in an American broadcast sitcom today. Wade Draft, Warns Other Rights Threatened