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Actor: Talia Ryder USA 1 hours 41 minutes 8,2 of 10 Director: Eliza Hittman Genre: Drama. | Brian Tallerico January 25, 2020 A quiet teenager named Autumn (newcomer Sidney Flanigan) looks like she carries the weight of the world on her shoulders. She’s introduced singing her heart out at a talent show—after her classmates have all either lip synced or done dance routines. There’s something melancholy in Autumn that’s not in most of her peers, and her only friend seems to be her cousin and co-worker Skylar ( Talia Ryder). It’s not long before we learn what’s weighing on Autumn’s mind—she’s 17 and pregnant. Eliza Hittman, the writer/director of “ Beach Rats, ” returns to Sundance with her best work yet, a powerful drama that’s mostly a character study of two fully-realized young women but also a commentary on how dangerous it is to be a teenage girl in America. With stunning performances from two completely genuine young leads, this is a movie people will talk about all year. Advertisement Just the simple plot description of “Never, Rarely, Sometimes, Always” makes it sound pretty manipulative: a pair of teenage girls struggle in New York City after one of them becomes pregnant and they have to travel there for an abortion. I’ll admit that I have a very low tolerance for stories of young people or children in jeopardy because it so often feels like a cheap trick to pull at the viewer's heartstrings. Hittman doesn’t make that kind of movie. Her filmmaking values detail over melodrama, unsparing of the plight of the teenage girl in America, a place that often treats them as objects or preys on them. Whether it’s the bro who makes lewd gestures at a restaurant, the grocery store manager who kisses his female employees’ hands, or the drunk pervert who pulls out his dick on a subway train, teenage girls navigate a minefield of toxic masculinity on a daily basis. After Autumn learns that Pennsylvania, her home state, requires parental consent, she convinces Skylar to travel with her to New York to get the procedure. With very little money, they make the journey via bus, and are pushed through a system that Autumn wasn’t expecting. What really elevates Hittman’s work here is the sense that Autumn and Skylar are making believable, character-driven decisions on the fly. Whether it’s Autumn piercing her nose after finding out she’s pregnant—maybe to take a form of control again—or how the women scramble to get what they need in New York, decisions feel organic and in-the-moment, adding to an incredible realism that’s embedded throughout the film. It also helps that Hittman is daringly unafraid of silence. There are no monologues. Autumn barely talks at all for long stretches. But Hittman also pushes her camera in close on Flanigan and Ryder, looking for the truth in their faces instead of manipulative dialogue. Hittman also dodges the “scary city” story that her film could have become. For the most part, the people Autumn and Skylar meet in New York are helpful, especially those in the healthcare system. One in particular asks Autumn a series of questions—the scene which gives the film its fantastic title—and it’s a breathtaking sequence, one in which it feels like Autumn herself is forced to come to terms with things she’s buried, even if just for a few minutes. Flanigan is remarkable in this scene, and throughout the film, and she’s well-matched by Ryder. Lesser writers would have made these two characters too similar, but Hittman trusts Ryder and Flanigan to carve out their own roles. They give two of the best young performances in a very long time. There are a few minor beats in “Never, Rarely, Sometimes, Always” that feel either too long or too rushed. It’s mostly a pacing issue in the center of the film, but this is a minor complaint for a major, personal work. Hittman’s visual acuity doesn’t draw attention to itself, but don’t underestimate that aspect either, reflected in simple beats like how she captures a Pennsylvania sunrise on a life-changing day or a tired head against a bus window. There’s an artistry to the filmmaking here that elevates what really matters—her character work. It’s so hard to make stories of young people that don’t feel like they’re using the precariousness of youth as a cheap trick. Adults often write dialogue for teenagers that sounds like posturing—what old people think young people sound like—or they embed moral messages in barely-remembered memories of their younger days. The reason that “Never, Rarely, Sometimes, Always” is such an impressive piece of work is that Hittman has such deep compassion for her two leads, a pair of young women pushing through a world that is constantly putting obstacles in their path. You won’t forget them. This review was filed from the 2020 Sundance Film Festival. Reveal Comments comments powered by.
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January 24, 2020 7:30PM PT Eliza Hittman's teenage abortion drama is a quietly devastating gem. The basic plot of “ Never Rarely Sometimes Always ” is easy enough to describe. A 17-year-old girl named Autumn (Sidney Flanigan) winds up pregnant in a small Pennsylvania town. Prevented from seeking an abortion by the state’s parental consent laws, she takes off for New York City with her cousin Skylar (Talia Ryder), where what they’d assumed would be a one-day procedure winds up proving considerably more complicated. But that synopsis, and the polemical “issue movie” treatment it might suggest, hardly does justice to the surgically precise emotional calibration of writer-director Eliza Hittman ’s exceptional film, which is both of a piece with, and a significant step forward from, her prior youth-in-crisis works “Beach Rats” and “It Felt Like Love. ” At once dreamlike and ruthlessly naturalistic, steadily composed yet shot through with roiling currents of anxiety, “Never Rarely Sometimes Always” is a quietly devastating gem. When we first meet Autumn – introverted, morose, standoffish – she’s singing a confessional folk take on “He’s Got the Power” at her high school talent show, only for a boy in the audience to interrupt her with a shout of “slut! ” A tense exchange in a pizza place with her ineffectually supportive mother (Sharon Van Etten) and openly hostile step-father (Ryan Eggold) follows, and the fact that her heckler is casually sitting a few tables over tells us everything we need to know about the claustrophobia of her hometown. When she gets back to her bedroom, she takes a look at herself in the mirror, and her eyes naturally turn to the growing bump in her lower abdomen. Autumn finds little help at the women’s clinic downtown, where the nurses are outwardly warm and reassuring, though a close read of their word choices makes it fairly clear where they come down on the Roe v. Wade debate. Since an abortion in the state requires a parent’s permission anyway, Autumn makes some hesitant, though plenty harrowing, attempts to end the pregnancy herself. Fortunately her cousin Skylar, with whom she works at a run-down grocery store, quickly figures out Autumn’s secret. Slipping some $10s from the register into her pocket, she wordlessly agrees to accompany her to New York for an abortion, and they hop on a Greyhound the next morning. Once they get there, they find themselves shuttled back and forth through the labyrinthine corridors and roadblocks of the American health care system, which forces them to remain in the city much longer than they’d bargained for. Not having anywhere to stay, they spend the rest of their trip slogging sleeplessly from one station to another, lugging their shared suitcase up staircase after staircase, and though both girls are in way over their heads, Hittman never portrays the city as a menacing urban wasteland – like so much of the adult world, it’s simply indifferent to them. (Which is not to say that the film is without threats. Throughout, Hittman makes us feel the weight of pervasive male attention. Whether it’s a creeper on the subway, a flirtatious older supermarket customer, or even an ostensibly harmless college kid (Theodore Pellerin) who tries to talk up Skylar on the bus, the fear of men barging their way uninvited into these girls’ lives hangs heavy over everything. ) Hittman’s screenplay is a marvel of economy, never wasting time filling in relationship details or backstories when they can be more powerfully hinted at. Most obviously, we never learn the father of Autumn’s unborn child, though the film subtly offers two possible candidates – neither are good, and one is particularly bad. The scene that provides the film’s title is a gut-churning back-and-forth at a clinic that opens several new doors into even darker chapters in Autumn’s past, all of which are left purposefully, and hauntingly, unexplored. We may not quite get under Autumn’s skin, but that’s by design. It isn’t just that she holds everyone at arm’s length, but that she’s a girl for whom survival is contingent upon compartmentalizing trauma, and Flanigan – a first-time actor – has a disarming way of parceling out tiny fragments of Autumn’s inner life, only to quickly raise her defenses again as soon as she realizes that she’s doing it. Skylar is considerably more outgoing, though she knows her cousin too well to try and draw her out. Indeed, the most eerily magical moments in the film are the ones that show Autumn and Skylar’s almost telepathic communication. With just a shared glance, a squeeze of the hand, or a minute spent applying one another’s makeup in a bathroom, Flanigan and Ryder are able to speechlessly convey things to which other films might devote pages of dialogue – not just reactive emotions, but complex decisions, explanations, assurances. Both performances are outstanding. But what’s most remarkable about “Never Rarely Sometimes Always” is the way it manages to honor the gravity of Autumn’s experience without ever sensationalizing it, or allowing the film to veer toward melodrama. It’s clear that taking this trip is one of the biggest, scariest things she’s ever done, but once the film fades to black, it’s easy to imagine Autumn resuming her life more or less the same way it had been before. It’s easy to imagine her never mentioning the experience again, consigning it to yet another of the emotional lockboxes she keeps deep inside. This may as well be the sort of thing that happens to teenage girls all the time. Because, of course, it is. Following a thunderstorm of Oprah Winfrey-related controversy and a successful Sundance film festival premiere, “On the Record” has secured domestic distribution at HBO Max. A harrowing look at the struggle of women of color in the #MeToo movement, specifically those accusing hip-hop mogul Russell Simmons of rape and sexual assault, the film was meant to [... ] Seven-time Oscar nominee Dennis Gassner (“Blade Runner 2029, ” “Jarhead”) was in Alaska recovering from back surgery when he got an interesting email. “Do not do the ‘Bond’ film, ” it read. “I have a film that’s very ambitious. Sending script now. ” The note, Gassner recalls, was from director Sam Mendes, who he’d previously worked with on [... ] In 1964, Variety reviewer Robert J. Landry was over the moon about the Paramount movie “Becket, ” which Edward Anhalt scripted from Jean Anouilh’s play. Landry said the film was “invigorated by story substance, personality clash, bright dialogue and religious interest. Patrons and perhaps reviewers will tend to heap credit on the actors. They deserve it [... ] With “Little Women, ” producer Amy Pascal has scored her second Oscar nomination (after “The Post”). Writer-director Greta Gerwig’s adaptation of Louisa May Alcott is only the third best picture nominee ever to be produced, written and directed solely by women, following “The Piano” and “Winter’s Bone. ” Pascal has another distinction: Of the nine nominated films [... ] Jessica Mann — a key witness in Harvey Weinstein’s rape trial who alleges the former movie mogul raped her twice and sexually assaulted her on numerous occasions — was let off the stand on Monday when she said she was having a panic attack during cross-examination. After being questioned for five hours by Weinstein’s attorney [... ] The media’s most-discussed Oscar story this year is the lack of diversity. But in fact, awards are the worst gauge of Hollywood’s commitment to inclusion, because the results are always kept secret, and because we’re talking about voters’ tastes (which may or may not involve the need to Make A Statement with their votes). 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People should really study Embryology and the gestation of humans before making assumptions regarding abortion. There are even tumours who are histological more complex than embryos. And the way we perceive pain is through a complex nervous system, not because it has a heart. To all the Christians out there, go read the ensoulment of the embryo by St. Thomas which only happens in the third trimester and stop using religion as an argument, because, as a catholic, you denigrate Christianity and science. Kabu: Afro: kooboh.
Download torrent never rarely sometimes always trailer. 2:52 WARNING. KAWAII LEVELS ARE OVER THE LIMITS. Download Torrent Never Rarely Sometimes always remember. Download Torrent Never Rarely Sometimes always happy. NCU - Nolan Cinematic Universe. Autumn is 17. She has grown up in a working-class environment in rural Pennsylvania where life is uneventful. Now, faced with an unintended pregnancy, she is certain that she cannot rely on her family for support. However, her cousin Skylar, with whom she shares the burden of having to put up with a sleazy supervisor at their tedious part-time job, is just the companion she needs to “fix” her situation. Together they set off across state lines to New York City. Outstanding newcomers Sidney Flanigan and Talia Ryder embody the young women with a natural talent that director Eliza Hittman succeeds in turning into a masterpiece of emotional precision. The crucial scene that gives Never Rarely Sometimes Always its title will surely become a staple of feminist cinema. Recognising your own alienation goes hand in hand with bursting through it. This is a process which, like a glass cage shattering into millions of tiny pieces, is both painful and spectacular to behold. With Sidney Flanigan (Autumn) Talia Ryder (Skylar) Théodore Pellerin Ryan Eggold Sharon Van Etten Crew Written and directed by Eliza Hittman Cinematography Hélène Louvart Editing Scott Cummings Music Julia Holter Production Design Meredith Lippincott Costumes Olga Mill Casting Geraldine Barón, Salome Oggenfuss Producers Adele Romanski, Sara Murphy Executive Producers Rose Garnett, Tim Headington, Lia Buman, Elika Portnoy, Alex Orlovsky, Barry Jenkins, Mark Ceryak Born in Brooklyn, New York, she studied art at the California Institute of the Arts. Her low-budget film It Felt Like Love premiered at the 2013 Sundance Film Festival where her most recent film, Beach Rats, also premiered and won the Directing Award. She was a Guggenheim Fellow in 2018 and is currently an assistant professor of film/video at the Pratt Institute. Filmography 2013 It Felt Like Love 2017 Beach Rats 2020 Never Rarely Sometimes Always Bio- & filmography as of Berlinale 2020 Feb 25 22:00 Berlinale Palast Ticket code 250013 Feb 26 12:15 Haus der Berliner Festspiele Ticket code 261075 15:00 Friedrichstadt-Palast Ticket code 260745 Feb 28 19:00 Ticket code 280743 Mar 01 19:30 Ticket code 010746.
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