‘Happening’ speaks to the horrifying future anti-abortion conservatives want

Going on is an abortion drama set in 1960s France but serves as a chilling shot of things to come in America, offering visions of the kind of hellish world that people coveted anti-abortion advocate — and it turned out to be close to reaching the courtesy of the conservative Supreme Court stacked by Trump, as pointed out by Justice Samuel Alito upsetting the opinion leaked draft Roe v. Wade. So, director Audrey Diwan’s period works are just in time for them to arrive. A Spiritual Companion to Eliza Hittman’s 2020 Standout Never Rarely Sometimes Alwaysit is a simultaneously outraged and vibrant portrait of a woman’s determination and courage in the face of intellectual difficulty, and a portrait that is sure to strike a chord. when (after its heralded debut at last year’s Venice Film Festival, where it took top honors) opens in US theaters on May 6.

Diwan’s film, an adaptation of Annie Ernaux’s 2000 autobiographical novel of the same name, focuses on Anne (Anamaria Vartolomei) as she begins a year of college. Anne chats with friends Brigitte (Louise Orry-Diquero) and Hélène (Luana Bajrami) about bras to wear and how to roll up their skirts before a night out at the local club, where they dance with each other and discuss which boys in attendance were attractive and/or noticed them. In Anne’s case, a young firefighter shows interest, and his profession subtly speaks to the excitement and danger of sex, as does a song playing at the facility. it exclaimed, “Kiss me baby, my soul’s fire.”

Anne did not go home to this admirer, and in a later school lecture she showed off her intelligence to both her professor (Pio Marmaï) and her classmates. Regardless of her academic aptitude, which is also a source of pride for her cafe owner mother (Sandrine Bonnaire), Anne’s stress about upcoming exams is increasing. However, she seems to have other things on her mind, as evidenced by when in private mode, she checks her underwear for blood, and then writes in her diary “Still no what”. A doctor’s examination soon explains this puzzling condition: Anne is pregnant. That alone is bad news for students. What makes it truly amazing, however, is that abortion is currently illegal in this country, with Anne’s doctor explaining that “the law is not appropriate” and that any woman who tries to Trying to get an abortion will quickly end the journey.

Anne is horribly bound, and Going on assumes her difficult perspective during her next ordeal through a carefully constructed socio-realist aesthetic that recalls the trademark style of Jean-Pierre and Luc Dardenne. Using only sparse music occasionally, director Diwan follows Anne’s close-up, both in front and behind her, adjusting her camera so strongly with Anne’s POV that, when the young woman controls Examine her almost flat belly, the focus of the image will change from the mirror to her belly and back at the same time as Anne’s gaze. Diwan achieves the same effect at the climax of the story, glancing at a traumatic sight before turning away just as Anne did, unable to face the consequences of her decision directly for more than a moment. second. It’s an approach that creates intense interaction with — and empathy for — the steadfast protagonist, whose journey is marked by betrayal after betrayal.

In every respect, Anne was condemned and exploited. While Brigitte feels comfortable demonstrating to her friends the proper way to masturbate, her view on pregnancy is “It’s going to be the end of the world” and she’s even disparaging when it comes to abortion. pregnant. Anne’s male friend Jean (Kacey Mottet Klein) uses her childbearing status as an opportunity to get out with her. Her classmates slandered her in the shower as a sick slut. And although a new doctor prescribed her a drug that would seem to facilitate her purposes, it turned out to be a ruse, no more helpful than the attitude of the original doctor. beginning that she “accepted it. You have no other choice. ”

However, Anne does not accept to give up her ambition to have a family life, but during a weekend at the beach together, her boyfriend Maxime (Julien Frison) – who is in charge knock her down – make it clear that he’s not interested in sharing with her. Alienation, ostracism, and submission are the order of the day Going on, which paints a horrifying picture of social and social forces conspiring to thwart Anne’s intentions and continue on her promising personal path. Whether it is individuals who refuse to help and/or alienate her because of her predicament (and her preference for wanting to do something about it), taking advantage of the situation for the sake of their own selfishness, or simply being unsympathetic for the stress she’s under — thereby upsetting her with additional anxiety — Anne is a character that’s been marginally removed from the situation. unjust.

Still, Going on is a horror story where the heroine refuses to be the victim. Anne is a defiant and steadfast young woman who believes she can, should, and will find a way to overcome this obstacle, and that is most evident in the difficult amateur and semi-professional abortion scenes. of the film, in which Anne is speechless from pain and anguish. heartbreaking as her courage and strength are moving. Far from being a wilted flower, Anne was a steel sword forged and sharpened by trauma, prejudice, and hieroglyphic stones thrown at her from all directions, and Vartolomei’s performance was fierce. bestowed by the constant and charged silence, her eyes conveyed a glint of light. of anger resilience.

Going on ultimately a story about the persistence needed to survive in a culture and nation that, with little regard for women’s self-determination, stipulates that women must accept and accept the idea that they should accept whatever unfortunate fate befalls. It is a small-scale nightmare of silence, submission, and repression, created and enforced by those who expect total submission to their ideological beliefs, and who often regardless of the burdens they are placing on others. Above all, however, in Anne, it is a poignant celebration of both the steadfast independence between the demands of conformity and the radical and just revolt against the sexist tyranny. character — and as such, an inspirational role model for Americans today.