Eliza Hittman’s spare film about one teenage girl’s Odyssean quest to terminate her pregnancy has the genuine potential to change hearts and minds
is a close observer. She’s particularly interested in the private struggles of youth, drawing intimate portraits of adolescent ecosystems with the detailed care of someone who’s watched, listened, studied. That granular focus is there in her debut film,, which extends further beyond Hittman’s personal purview but still teems with bracing specificity. Her films have an instructive value—illuminating fraught experiences that often go unaddressed and unspoken—but they’re not didactic.
From one anxious perspective, it’s perhaps for the movie’s own good that it’s so economical, so unshowy, that it does not bang a drum about its righteous intent. Because, were certain anti-choice groups to catch wind of the film, I think they’d raise a mighty stink that could drown out what the movie says so urgently. From all other vantages, though, I wishhad a much higher profile.
The film must exist in its time, fair or foul, and it does so bravely. Hittman takes her title from the multiple choice answer options presented to Autumn when she finally reaches a Planned Parenthood in New York and meets with a counselor. The counselor—played, off-screen, by a real-life Planned Parenthood employee—asks Autumn a series of questions about her personal life, mostly as it pertains to sex and relationships.
This is one of the most shattering movie scenes you’re likely to see all year. And yet, in its painful way, it’s enlightening. Hittman takes the patient time to sit and consider, to see the individuality of Autumn’s imagined life while also allowing us to extrapolate out, to see the film almost as an allegory for an entire shared experience.
Autumn makes her journey with her cousin, Skylar , whose steadfast, unquestioning companionship is the movie’s main source of warmth. It’s a humble miracle, this freely offered help, this extension of kindness and understanding. We hear that same quality—feel that rare safe harbor, finally reached—in the counselor’s voice, too. Hittman does not steepin miserablism; she’s too sharp a filmmaker to do the lazy indie math that equates totalizing bleakness with truth.
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