Directed by Eliza Hittman
A pair of teenage girls in rural Pennsylvania travel to New York City to seek out medical help after an unintended pregnancy.
Niemals Selten Manchmal Immer, Ніколи, рідко, іноді, завжди, 전혀 아니다, 별로 아니다, 가끔 그렇다, 항상 그렇다, Nunca Raramente As vezes Sempre, ไม่เคย นานหน บางครั้ง เป็นประจำ, Nunca, casi nunca, a veces, siempre, Nunca, rara vez, a veces, siempre, Əsla, Nadirən, Bəzən, Həmişə, Никогда, редко, иногда, всегда, 从不，很少，有时，总是, 從不，很少，有時，總是, Asla, Nadiren, Bazen, Her Zaman, Ποτέ Σπάνια Μερικές Φορές Πάντα, Nunca Raramente Às vezes Sempre, Nigdy, rzadko, czasami, zawsze, Mai raramente a volte sempre, Ніколи, зрідка, іноді, завжди, Soha, néha, mindig, אף פעם, לעיתים רחוקות, לפעמים, תמיד, Nunca Raramente Às Vezes Sempre, Nekad, reti, dažreiz, vienmēr, Niekada retai kartais visada, 17歳の瞳に映る世界, Niciodată, rareori, uneori, întotdeauna, Lạc Bước Tuổi 17, Nikdy výjimečně někdy vždycky, Mitte kunagi / Harva / Mõnikord / Alati
USA Sundance Film Festival 
Germany Berlin International Film Festival 
Russia New Holland Island International Debut Film Festival 
FinlandK-12 
Netherlands16 USA 
Italy 
FranceU Russia16+ 
Spain Germany6 
Switzerland Switzerland 
AustraliaM 
Austria Italy 
Belgium16 USAPG-13 
Ireland15 
Poland16 
MexicoB-15 
Brazil14 
South Korea15 
JapanR15+ 
UK15 Australia Australia Austria Belgium Brazil Finland France Germany Ireland Italy Japan Mexico Netherlands Poland Russia South Korea Spain Switzerland UK USA 
“what’s wrong?”
“girl problems”
so special. it’s sparse in just the way it needs to be, the silence carrying us along with it. quiet despair is just the routine for so many, and this shows it with so much empathy that it made my heart ache. ugh
An honest-to-god horror movie. The camera swings and lingers with all the tension of a Blumhouse movie and the care of a French romance. I went “no no no no” every time a man was on the screen. Girls are made to grow up so fast. I was a grown-ass adult man in an office at the age of 23 scared to drive my big boy car to a local doctor on my insurance and figure out why I kept passing out at the office and here are these two baby girls born after the towers fell putting their lives in repeated danger for a peace of mind they should’ve always been afforded. Hell hell hell.
Eliza Hittman has an attention to detail that, as proven here, can carry an entire film without words. Not just in the faces but in footsteps, blinks, and obviously hands. Even the smallest of actions speak so loudly. When something otherwise “normal” means something, you feel that difference.
There’s a specific shot near the beginning when Autumn is laying in the bed after her ultrasound exam. The camera follows her face as she turns to her side, facing away from the monitor. In the midst of a situation that’s left her no room to breath, she finds solace where she can, in that moment it’s on the other side of that bed. That solace redefines itself throughout the film, but proves itself present in every moment, even if that moment is in the middle of a shitty NYC train station.
“Is someone hurting you?”
Silence speaks volumes, but only to those who understand the language; the men who take up space in Autumn’s world don’t speak it. They judge and project meaning on her silence, but they don’t interpret it how her cousin, mother, and medical professionals do. No monolithic experience of womanhood exists, but there is common ground that women walk on as they move through life. Autumn throws out a familiar set of vague answers to the variety of questions that come her way — not a particularly talkative character in any moment of her life. Her silence, though, is an active one. It exists under pressure, under an intense weight: the fear of apathy in response to…
yup that title scene broke me it really broke me
This review may contain spoilers. I can handle the truth.
when they panned up to show the counselor holding autumn’s hand, or gently stroking her cheek, or brushing her hair out of her face.. i was so overwhelmed my eyes kept filling up. and then autumn absorbing that as a form of comfort & offering her cousin her hand when she needed it, out of sight but still making her presence known. a sign of “you are safe”
the whole film kept leading me back to the song real love by big thief, specifically:
“having a bad week?
let me touch your cheek.
i will always love you.”
anyway please watch this, is it so quietly powerful,
and nothing is more satisfying than seeing “executive producer barry jenkins” during the credits
This review may contain spoilers. I can handle the truth.
A film that manages to say so much by explicitly saying very little. A mastercraft in terms of how to tell a story through subtext and silence, complete with illuminating performances and direction.
After the scene with the dog, I feel like it became clear that Autumn's father was the father of her child, and I kept waiting for that gut punch scene where she would explicitly tell someone this. But it never came. And that's perfect. Because it really is none of our business. It's not something we needed her to say out loud or relive; all that matters is for her to get her abortion and move past the experience.
Hell, maybe my theory is wrong. Maybe the…
A movie that truly captures the despair of the Port Authority Bus Terminal
What I love about this movie is the silence. It's deafening, and it's loud enough. I wish more people would listen.
abortion isn't bad or evil, but having your main character use internet explorer as her browser is
This review may contain spoilers. I can handle the truth.
There’s so many hard-hitting scenes in this film, but for some reason the one I keep thinking of most is after Autumn tells Skylar to “fuck off”. When they’re both mad and annoyed with each other but when they meet in the bathroom Skylar doesn’t even say anything she just puts concealer under Autumn’s eyes. Ugh... I want a love like that.
powerful in such a simple and intimate way, i wish every woman i know could watch it
