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Following the ruling against abortion: these are the two must-see movies now - Walla! culture


The United States Supreme Court ruling against abortion is an unfortunate opportunity to return to two of the best films of the current decade

Following the anti-abortion ruling: these are the two must-see movies now

The United States Supreme Court ruling against abortion is an unfortunate opportunity to return to two of the best films of the current decade: one American, the other French, and both illustrate what injustices and torments this decision will give rise to.

Avner Shavit


Sunday, 26 June 2022, 11:08 Updated: 11:25

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Trailer "Never, Rarely, Sometimes, Always" (Berlin Festival)

"Never, Rarely, Sometimes, Always"

It is important to remember one thing: the Supreme Court ruling is just the latest nail in a long-running struggle to suppress women's rights in America.

Even when abortion was a federal right, many states did everything possible to restrict it.

Take Pennsylvania, for example.

Between the 1980s and the present, the number of clinics performing abortions in the country has dropped from 144 to at least twenty, and almost half of the women in the country live in a district where there is no suitable clinic.

A woman who wants to have an abortion does not have many choices.

One is to travel to New York, which is ostensibly a few hours' drive away - but the procedure and journey require a lot of money, and in a class society like the United States, those women who are in this situation usually have no money, which presents them with almost insurmountable obstacles.

"Never, rarely, sometimes, always"

Held its world premieres in the winter of 2020, just before the outbreak of the plague, and won awards at the Sundance Film Festival and the Berlin Film Festival.

So, the ruling was still a long way off, but it was already clear where the wind was blowing because of Trump's appointments.

Accordingly, he is following a girl from Pennsylvania who is getting into an unplanned pregnancy, and because of the situation we have described she is required to travel to nearby New York to have an abortion.

She embarks on a journey with her cousin, and the two together have no two divorces, and in fact there is nothing but each other, and they are required to find solutions together to finance the trip, the stay and of course the process.

There have been entrenched fools who have written nonsense in recent days like "there is still freedom of movement in the United States, so if a woman lives in a country that has no right to abortion, she will travel to a country that has it, what is the problem?".

This film answers the question.

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Recognized where the wind was blowing.

From "Never, Rarely, Sometimes, Always" (Photo: Berlin Festival)

The film also does well to illustrate how abuse and mistreatment are almost mechanical rituals in our toxic world.

His name also refers to this.

When the protagonist arrives at the clinic before the abortion, a short and routine interview is conducted with her.

In it, she is presented with different situations, such as those concerning sexual exploitation, and asked to answer if it has never happened to her, rarely happened, often happened or always happens.

Her answer is so sad that she finds it hard to answer without choking on tears.

After all, "Never, Rarely, Sometimes, Always" is a beautiful name, and there is a lot of beauty in the film as well.

It showcases the inspiring power of female brotherhood and solidarity, and has ten cabins of compassion, kindness and humanity.

And most of all, it's just great cinema.

Hitman presents with a careful hand and in a remarkably refined way positions that in any other film would have become exploitative - including one painful but also heavenly scene, without words, and the Pantheon.

She is aided by the camera work of Helen Louver, perhaps the true heroine of this craft of thought, and one of the best photographers of our generation, who was already responsible for the pulsating images in the Brazilian "hidden life" and in the Italian "happy stranger";

And in the expressive display of Sydney Flanning and Talia Ryder


Flanningan is an unprofessional actress, who Hitman cast for the role specifically, and we have not seen her since.

Ryder, on the other hand, has become one of the busiest young actresses in Hollywood, and we're seen her in "Suburb Story" and even in a clip by Olivia Rodrigo, and will soon be seen on Netflix in a romantic comedy called "Hello, Goodbye and Between" - the farthest from this film.

In performing here the two did their first significant roles, but the inexperience does not prevent them from expressing a rainbow of emotions in a few dialogues.

In general, the script is very economical, and yet the feeling is that it lacks nothing.

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Great cinema.

From "Never, Rarely, Sometimes, Always" (Photo: Berlin Festival)

This is one of those films that creates the feeling that you will take one stone out of them and everything will fall apart - with a different actress, with a different music, with a different photography work, maybe it would not work, but here everything connects in wonderful harmony.

The result is remarkably cinematic, and more relevant than ever, because the fate of the protagonist, who was the fate of many American women, will now be the lot of many more women.

"Never, rarely, sometimes, always" was not distributed to us.

Both because of the corona and because of its theme.

In fact, it was never screened here on a big screen, and contented itself with screenings in the virtual edition of the Jerusalem Festival about a year and a half ago.

It's now available in home format, and it's the movie to watch now.

Already in real time I thought it was the movie of the decade, and now it's more true than ever.

The event ("Happening")

France is going in a different direction from America.

This year an amendment was introduced to the law, which extended the period of time during which abortions are allowed: from 12 weeks into pregnancy to 14 weeks.

On this occasion, President Macron expressed himself in a controversial manner that was perceived as offensive to women, but the laws themselves are considered relatively advanced for the world.

At least until she-pen comes to power.

By contrast, until 1975 abortions were illegal, and those who had an abortion risked imprisonment at best, and death at worst - because the illegal abortions were usually done in a pirated and primitive manner.

"The Event"

is based on the semi-autobiographical and canonical book of the same name by Annie Arno, which follows her character - a young working class woman, living in 1960s France, getting pregnant and forced to work underground and in the dark to have an abortion in this way.

The film was directed by Audrey Diwan, who took on a challenging task - to bring to life the masterpiece book.

Her solution, was to create a work of her own.

Although the frame story is similar, we have not seen a cinematic adaptation that is so different from the literary source in a long time, both in the plot details and the style.

The book is built as a reflection on the past;

The film, however, takes place in the present of the protagonist and is so intense that she has no time to ponder.

Once released from the shadow of the book, one realizes how much Diwan's directing work leaves a mark, including what are probably two of the most difficult scenes seen on screen in recent years;

How electrifying the display of the game in the lead role of the discovery Anna-Maria Vertolomi;

And to what extent the film, just like the literary source, best discusses the striking French cross between gender, class and power, and the French higher education system, the most efficient electoral retention mechanism in France, and in fact the only effective thing in France.

A journey towards the dark of France.

From "The Event" (Photo: Courtesy of the Sundance Festival / IFC Films)

At the climactic moment of the film, the protagonist returns to class after a long break for obvious reasons.

She assures the lecturer that she will complete the material.

Skeptically and carelessly, he asks her where she has gone.

"I had an illness," she explains.

"A disease that only affects women, paving the way for them to be housewives."

Like its American counterpart, the "event" was not distributed here, although it won the Golden Lion Award at the last Venice Film Festival.

And contented himself with a screening under the radar at the Haifa Festival, it is now available in a home format, and is worth seeing.

Although the cinematic adaptation does not compare to the original, one of the great French books of our generation, but through his journey towards France he provides an effective and shocking glimpse into what America's present and future is about to be.

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Source: walla

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