NEVER RARELY SOMETIMES ALWAYS
2020, Focus Features, 95 min, UK/USA, Dir: Eliza Hittman

When 17-year-old Autumn (Sidney Flanigan) looks at herself in the mirror, she can see the signs of pregnancy beginning to manifest in her body. As a minor in rural Pennsylvania, she cannot obtain an abortion without parental consent. That leaves her to consider the age-old methods women have turned to when confronting unintended pregnancies. Though Autumn keeps mum about her dilemma, her distress is clear to her cousin and best friend Skylar (Talia Ryder), who sees her every day at school and at their part-time jobs as cashiers. With the address of a Brooklyn clinic in hand, the cousins board an early morning bus bound for New York City. But their trip takes an unexpected turn when Autumn learns that a one-visit procedure isn’t possible. As the cousins navigate two fraught days and nights in an unfamiliar and overwhelming city, their journey becomes one of profound solidarity, compassion and friendship. Winner of the Silver Bear Jury Grand Prix at the Berlin International Film Festival.“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.” - Andrew Barker, Variety.


IF BEALE STREET COULD TALK
2018, Annapurna Pictures, 119 min, USA, Dir: Barry Jenkins

Set in early-1970s Harlem, this adaptation of James Baldwin’s novel is a timeless and moving love story of both a couple’s unbreakable bond and the African-American family’s empowering embrace, as told through the eyes of 19-year-old Tish Rivers (newcomer KiKi Layne). She dreams of a future with her artist fiancé, Fonny (Stephan James), but the couple’s plans are derailed when the young man is arrested for a crime he did not commit. As Fonny’s weeks in prison turn to months, Tish draws upon inner strength and the unwavering support of her family to face the challenges of life without her partner at her side and the imminent arrival of the couple’s child. “In BEALE STREET as in MOONLIGHT, the director melds color, music and portraiture to do more than tell a story. By the time he’s finished, he seems to have transcended the conventional tools of filmmaking to work with pure emotion itself.” - Ann Hornaday, The Washington Post.


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