Might want to brace yourself for this one, because even for the topics I usually get involved in with these reviews, the subject of today’s write-up is highly controversial. The fact that it is controversial makes me sigh a bit in disbelief, but just putting this out there: This review will involve frank discussions (well, as frank as I can be about the topic) about abortion and Planned Parenthood. At time of writing, there seems to be a major discrepancy between critics and the general public (like, more so than usual), and from the looks of things, that’s largely out of knee-jerk rejections of the subject matter being depicted at all. And much like with Cuties, I feel somewhat compelled to clear the air about such things (AKA I want to take the piss out of film bros for a bit), if only to help further this film’s case because I genuinely think that this is a film worth watching.
Now, I have no experience with this subject matter personally. I don’t know what it’s like to have to make this choice, and I’m certainly not here to sling mud on those who have been in that position, regardless of their ultimate decision. But from the perspective writer/director Eliza Hittman gives of one young woman’s trip from Pennsylvania to New York to get an abortion, she certainly wants the audience to get a better idea of what that decision feels like.
Aside from a few assorted bit parts, Sidney Flanigan’s Autumn only has two allies with her at all points of her journey: Talia Ryder as her best friend Skylar, and the camera itself. Told through fly-on-the-wall cinematography and several subway cars full of silence, it almost takes on a documentary tone in how closely we follow Autumn, particularly during the medical appointments at Planned Parenthood as well as at a crisis pregnancy centre closer to home. It’s quite suffocating in how intimate it is, aided in no small part by how low-key and naturalistic the acting is, and through that, it makes for a film that insists, as loud as the dialogue consistently isn’t, to treat this situation and those who go through it with empathy.
But oh noes, feminazi baby killers argleflargleblargle the depiction of men who aren’t chivalrous is oppressing me blah blah blah; I don’t want to spend more time than I need to on this, but yeah, let’s quickly get into the male characters here. As far as realistic depictions of the patriarchy, this isn’t as down-to-earth as something like The Assistant, as the glibness from most of the male supporting parts here ranges from condescending to gross to what I hope isn’t a regular occurrence on New York subways. However, that doesn’t account for characters like Jasper (Théodore Pellerin), who is not only supportive but acts as the linchpin in my favourite moment of the entire film. Seeing Autumn and Skylar share a ‘I’ve been through hell, but I’m not going to ruin this moment for you’ moment really drove home how strong their friendship is, and it definitely added to the slice of life aspect of the story.
The idea that is purely man-hating also hand-waves away how Autumn is treated at the CPC, a point where the heartbreaking logistics of the plot really struck a chord with me. For as disgusting as some of the men are in this, the single most despicable action (far as I’m concerned) is done by a female counsellor at the CPC, who basically lies to Autumn in an attempt to force her to bring the baby to term. Right before showing her an abortion scare flick with more stretch marks than any of their clients. The notion that Autumn has to travel out-of-state to get any information to the contrary, that doesn’t try to browbeat her into a decision when the scenario is already stressful enough, is pretty aggravating, in particular because even getting the right help still involves reliving some incredibly harrowing events. The scene that gives this film its title, a questionnaire Autumn is given at the PP clinic, has got me in tears just recollecting it, to say nothing of watching it unfold in real time.
There is still a possibility that this will only serve to preach to the already-converted, something that the review-bombing already taking place seems to be confirming. And that is a shame, but can’t really be helped, even for a film that shows such a sincere want to put the audience in the character’s shoes. Personally, while I freely admit to having my mind made up about the topic beforehand, that doesn’t ultimately change just how much of an eye-opener this film is for me. It gives a depiction of the journey that’s so close-up, you’re practically breathing the same air as the main characters, and rather than bottom out entirely into polemic territory, it treats it with an empathically personal perspective. It’s a call for empathy, for understanding, of those on our side of the screen who have been in or are currently going through that situation, and for whatever my opinion is worth, I have to say that it’s incredibly effective.
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