Never Rarely Sometimes Always

“Never Rarely Sometimes Always” is a great reminder on the power of what independent filmmaking is about–often with subject matter that is combative and brittle, interspersed by modern social commentary, tragedy and ultimately hope. The strategy of American independent filmmaking has always revealed these idiosyncratic and revealing sensibilities that unravel with emotional truths about social issues that lead the viewer to discovering greater empathy and compassion on complex and ethical issues that arise from the human experience.

Now, suddenly, a most galvanizing towering work captures all the same traits of what makes a bold and great independent film. The major discovery of Eliza Hittman was her impressive debut feature “It Felt Like Love,” followed by the raw “Beach Rats,” were both notable films that generated strong acclaim and recognition. At this year’s Sundance Film Festival “Never Rarely Sometimes Always” made a huge splash–winning accolades and generating strong buzz. This film should hold strong staying power as time passes on, and is, by far, the strongest film so far of 2020.

Hittman’s perceptive and engaging new work unfolds with stark realism and raw authenticity that’s very vivid and fully realized. The film if anything recalls Cristian Mungiu’s  “4 Months, 3 Weeks and  2 Days,” the 2007 Romanian masterpiece that was also about two women attempting to find an abortion, yet that film’s setting was in 1987 as the Romanian government transitioned away from a Communist totalitarian regime into a more democratic one. Like Mungui, Hittman heighten’s her characters’ world with astonishing dramatic intensity and lofty dramatic weight that never derails into melodrama. Hittman remains attuned to the interior lives of her two female protagonists just as Mungui did, and the drama unfolds with conviction with her main characters conflicted decisions and anguish of carrying on with an unwanted pregnancy.

Two teenage girls, Autumn (Sidney Flanigan) and Skylar (Taila Ryder) , are cousins that work together at a supermarket in a rural Pennsylvania town. At the start of the film the camera surveys Otilia performing a song at her high school 50s and 60s talent contest, as Autumn is performing the 1963 hit song by The Exciter’s titled “He’s Got the Power,” yet she renditions it with modern indie rock sensibilities. This is a great metaphor that Autumn is a representation of modernity, and the world around her is trapped in the past as everyone at the talent show is dressed up in Elvis Presley outfits and other 50s and 50s fashion. During her rendition, she is heckled by a male student.

This opening scene sets up the world of From there every moment of her life has some sort of humiliation from men that gives her a sense of entrapment. Every act from other men involve some sort of degradation, sexual harassment, and crude behaviors that feel like they belong in another era. Even the women’s clinic in her hometown uses pro-life pressures of adoption and a pro-life video to persuade Autumn from any temptations she might hold of having an abortion. Autumn ends up making a difficult decision to go to New York since the abortion laws are more relaxed in New York, where at the age of 17 she is considered a minor in her home state, she won’t have to get her parents’ permission to access the termination of her unwanted pregnancy. When she tells her cousin what her plans are, Skylar ends up stealing money from one of the cash drops from the super market (in which their store manager always kisses their hands) to pay for their bus tickets to New York City.

The films atmosphere feels like a documentary, the natural lighting and use of handheld camera work is drained of any vibrant colors and the setting is dramatized by a preternatural use of blues, grays, and light browns that are sharply executed by Hittman and her talented cinematographer Helen Louvart. The films script also written by Hittm, expertly holds great ambiguities as it holds just enough information to maintain Autumn’s own psychology and inflicted trauma she endures.

It yields the films most memorable and affecting scene at the second facility where Autumn answers a questionnaire with a professional doctor, who has been enlisted in carrying the orders to terminate Autumn’s unwanted pregnancy. The questions dig deeper and deeper about her experiences and her partner (s), and the minimal and vague answers Autumn gives speak large volumes on the manipulation and trauma she endured from her past experiences. Flangian delivers a breakthrough performances here–vulnerable, fearless and convincing.

Refreshingly and fearlessly, Hittman never provides a context or reason for Autumn’s past trauma, it shows instead of tells. We don’t even know who the father is. The movie is not so much about finding atonement and it’s also far from being a “pro-choice” polemic, it explores the consequences of unwanted pregnancies. Near the end of the movie there is certainly grace and insight to be found. The films expressiveness to such vivid details is undeniably absorbing and affecting. It ends with a powerful moment that moves deeper and deeper into what it means to be a woman living with endless amount of pressures and violations.

“Never Rarely Sometimes Always” is not an easy film–it’s terrifying, wrenching, and tragic. Despite the harsh subject matter, the movie is never merciless or cruel though. The film is a plea for compassion and understanding to the complex gray areas of what leads to women making such strenuous choices, and the film is quite unflinching in exploring the emotional truths in what leads to unwanted pregnancy. Hittman has truly delivered a profound and masterfully crafted film that explores just how systems and structures are in fact rigged against women.

Never Rarely Sometimes Always is now available on VOD and Amazon Prime.