A high-school girl's first sexual experience is with another girl, and, along with her first broken heart, she must deal with her mother's reaction to her revelation that she is a lesbian and with ostracism at school.
Chase (Mirren), a lifetime resident of Martha's Vineyard, married Richard (Bridges), and like the area, grew into the Upper-Middle-Class. Her distaste for artificiality leads her to a wild ... See full summary »
Baby Annie is HIV positive and has been left in the clinic by her drug addicted mother. To prevent that she's deported to a home where they'd just wait for her to die, nurse Susan takes ... See full summary »
S. Epatha Merkerson
An abused battered wife has had enough of husband beating up on her. Everywhere she turns for help, there's not much anyone will do. After he rapes her one night, she sets the bed on fire with him in it asleep.
A trilogy of stories set in the same house, but with different occupants and spanning over 40 years, deals with various women and moral crisis over unexpected pregnancies and their choice of abortion. In 1952, when abortion was illegal, a nurse deals with her unexpected pregnancy and takes drastic measures to get one. In 1974 a family housewife with four children discovers that she's pregnant and decides she can't handle another child to raise. In 1996, a pregnant college student decides on an abortion, but doesn't realize the means to go through to get one. Written by
All three of these short films are good, but the first is outstanding, largely because Demi Moore, whose performances I've otherwise never particularly liked, is so excellent. The point that she and Savoca convey - powerfully - is the sheer isolation, 50 years ago, of women who faced unwanted pregnancies. Moore spends most of the film, it seems, sitting alone in an empty house. Otherwise, she's enduring the company of her late husband's family, who see her only as their boy's widow, not as a human being. It's a frightening story that exerts a very strong empathetic pull.
The dialog is spare; Savoca relies on Moore's face and body language to convey her terror, aloneness and feeling that things are closing in on her. There's very little "emoting" here, which makes Moore's character all the more forceful. The result is an exemplary piece of film acting.
Of course, how much do we need in the way of tears and histrionics when we can see Moore attempting the old knitting needle cure, and later dealing with the aftereffects of a ghastly kitchen-table operation? This country's abortion laws created - and maintain effectively, in many places - a sort of hell for pregnant women. Thanks to this film, we can really understand a bit of what it was - and is - like.
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