Never Rarely Sometimes Always (2020)

Directed by: Eliza Hittman | 101 minutes | drama | Actors: Sidney Flanigan, Talia Ryder, Théodore Pellerin, Ryan Eggold, Sharon Van Etten, Eliazar Jimenez, David Buneta, Christian Clements, Sam Dugger, Aurora Richards, Rose Elizabeth Richards, Brian Altemus, Lizbeth MacKay, Mia Dillon, John Ballinger Sr. , Drew Seltzer, Amy Tribbey, Bill Vila, Omar Dugue, Bryse Gregory, Denise Pillott, Sipiwe Moyo, April Szykeruk, Ronnick McCoy, Jingjing Tian, ​​Guy A. Fortt, Cassandra Pogensky, Carolina Espiro, Kelly Chapman

Although abortion is legal in many countries under certain conditions, there is still a taboo surrounding the premature termination of a pregnancy. The drama ‘Never Rarely Sometimes Always’ gives an insight into how things work in the American state of Pennsylvania. In a penetrating way, the film closely follows seventeen-year-old Autumn Callahan in her lonely choice when she becomes pregnant unintentionally.

It is director Eliza Hittman’s third film and ‘Never Rarely Sometimes Always’ is a gripping, almost documentary, portrait of a young woman who has to break down a wall of misunderstanding and bureaucratic obstacles in her decision to have an abortion. The local crisis shelter for pregnant women shows its anti-abortion material and advises first to consider adoption. The almost institutional misunderstanding results in Autumn feeling the pressure to secretly follow through with her choice. Her niece Skylar, who attends the same school and works at the same local supermarket, is the only one who supports Autumn. On their own, behind the backs of family and benevolent outsiders, they decide to travel together to an abortion clinic in New York City.

Both actress Sidney Flanagan, who plays the surly and sometimes unsympathetic Autumn, and Talia Ryder, the tall and good-natured niece, get the best out of themselves. Moreover, Flanagan and Ryder have absolutely no fear of cold feet, all the more clever with this loaded subject. Hittman’s subtle and astute directing, who also took on the screenplay, will certainly have played a part in this. A good example of this is an intake interview at the abortion clinic in New York. A dead simple set-up. A counselor, herself out of the picture, methodically questions Autumn about her sexual past. Although Autumn only has to choose from four answers, that of the film title, her imprinted facial expression and whispering tone say so much more. Very moving.

‘Never Rarely Sometimes Always’ is combative in its focus on Autumn’s story, but not ostentatiously activist or politically colored. It doesn’t point the finger at the obstacles for Autumn, it mainly shows. In doing so, it avoids a cultural minefield as best it can, as in America the abortion issue cuts across religious and political divides. At the same time, the film has a somewhat dejected attitude towards Autumn’s ordeal. It resembles the earlier social-realistic work of the Dardenne brothers, such as ‘Rosetta’ (Jean-Pierre Dardenne, Luc Dardenne, 1999). Like this Dardenne film, ‘Never Rarely Sometimes Always’ is also about a resilient woman with a difficult start.

It is sad to see that Autumn hardly talks about her choice for abortion. How does she feel about it and how did she come to her decision? Does she even want to talk about it? Almost nowhere does Autumn feel safe doing this. It is only at the antechamber of the surgery that there may be an opening for Autumn to pour out her heart. In a nutshell, ‘Never Rarely Sometimes Always’ says that a more female-friendly society, in which Autumn can speak for itself, actually requires much more than the right to an abortion and access to a clinic. Due to the urgency of the film, it would therefore not be out of place as teaching material at school.