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score=50 Vote / writed by=Eliza Hittman / UK / Directed by=Eliza Hittman / Never Rarely Sometimes Always is a movie starring Ryan Eggold, Théodore Pellerin, and Talia Ryder. A pair of teenage girls in rural Pennsylvania travel to New York City to seek out medical help after an unintended pregnancy / &ref(https://m.media-amazon.com/images/M/MV5BNGNhNjE5MTctOGVhMC00ODk5LTg0ZmUtOWI4MTE4NTBmYzBiXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_UX182_CR0,0,182,268_AL_.jpg)
Never Rarely Sometimes always happy. Never rarely sometimes always plot. Sidney Flanigan in Never Rarely Sometimes Always (Eliza Hittman, 2020) Eliza Hittmans first two features, It Felt Like Love and Beach Rats, are evocative coming-of-age tales, attuned to the ways in which the pressures of gender and sexuality encroach, often destructively, upon adolescence. Her new film, Never Rarely Sometimes Always, which premiered at the Sundance Film Festival last weekend, starts off in similar territory: Autumn Callahan (Sidney Flanigan) a quiet, guarded high school senior in rural Pennsylvania, discovers that she is unexpectedly pregnant. The revelation is relayed with Hittmans characteristic economy and attention to detail: in three swift scenes, Autumn examines her slightly protruding belly in the mirror, gets a pregnancy test at a local clinic, and then returns home and pierces her nose in a wordless assertion of her autonomy over her body. But as Autumn embarks on a quest for an abortion, this portrait of fraught teenagehood soon turns into something more overtly political than any of Hittmans previous work: it becomes an intimate encounter with the state of womens reproductive rights in the United States. During a chat at a restaurant in Park City the day after the premiere, Hittman told me that she began writing the script in 2012, after hearing of the tragic case of Savita Halappanavar, a 28-year-old woman who died of septicemia in Ireland after being denied a life-saving abortion. “I read about how women traveled from Ireland to London and back in one day at that time, ” Hittman said, “and I thought, how far would this woman have had to travel to save her own life? ” Never Rarely Sometimes Always charts a similar journey in microcosm. Unable to get an abortion without parental consent in Pennsylvania, Autumn takes a bus to New York City with her cousin Skylar (Talia Ryder) to seek help at a Planned Parenthood office. Hittman emphasizes the contrast between the girls small, quaint hometown and the terrifying, overstimulating bustle of Manhattan, which throws umpteen hurdles at them, from confusing train routes to predatory men. “I was fascinated with how quickly the world changes when you leave New York City. You drive two hours and youve traveled back in time, ” Hittman said. Never Rarely Sometimes Always bears obvious parallels to 4 Months, 3 Weeks and? 2 Days, Cristian Mungius 2007 thriller about two college students seeking an illegal abortion in the final years of Communist Romania. Hittman acknowledges the film as a reference, but says that she was inspired by her grievances with it. “I think its a film that is masterfully executed, and yet it left me wanting so much more from the female character who was actually pregnant. I felt that her representation was somewhat misogynistic, because shes depicted as being really naive and careless. I didnt find it empathetic toward her, ” she said. “I wanted to make a film about two women in a similar predicament that was really empathetic to both of their journeys. ” The comparison between the two films underscores the ironies that make Never Rarely Sometimes Always such a sharp and timely critique. For the women in Mungius film, the only option under Nicolae Ceau?escus conservative regime is an illicit abortion. In Hittmans film, safe and legal abortion is available to Autumn (in another state) but she still faces tremendous difficulties that stem from internalized stigma and the lack of infrastructural support for women who make that choice. She is unexpectedly forced to stay in New York for three nights to complete the procedure and, too proud to accept the clinics offer of shelter and too scared to use her parents insurance, she and Skylar end up stranded in the city with no money and nowhere to sleep. Hittman leans into the bureaucratic nitty-gritty of procuring an abortion, which she based on conversations with social workers and abortion providers and visits to pregnancy clinics in both Pennsylvania and New York. “For me, it was about all of the real-life obstacles that someone would encounter, ” she said. “Im interested in narratives that are about human obstacles. ” One of these obstacles in the film happened to be unscripted:? when Autumn and Skylar arrive at the Planned Parenthood in Brooklyn, the sidewalk is crowded with actual anti-abortion protestors, who had showed up for their weekly demonstration on the day of the shoot. The most powerful moment in the film, however, is not one of confrontation but of self-realization. In a preparatory interview with a Planned Parenthood counselor, Autumn is asked about her experiences with intimate partner violence and sexual assault; in her answers, shes asked to choose between the options “never, ” “rarely, ” “sometimes, ” and “always. ” As the questions get more and more personal, Autumns face?fiercely stoic for most of the film?begins to contort in confusion and pain; an understanding of her own experiences dawns upon her, elucidated perhaps by the clinical language of the questionnaire. Its an extraordinary feat of acting by newcomer Flanigan, who is filmed up close in a single, simmering long take. “I decided early on that we would attempt to do it in a long take, ” Hittman said of the scene. “A lot of times when you see films with first-time actors or non-actors, theres a feeling that the performance is cut, its edited, because theyre not a real actor. But with Sidney, I knew that she could do it in a long take, and I knew that it was all about actually spending time in the office. The idea was to create a little bit of intimidation and pressure on her as a human in the moment to intensify the experience. ” Hittman also recruited an actual counselor from a clinic in Queens to perform in the scene. “I thought she could take Sidney through it organically and create a space for her to feel vulnerable. If it was two ‘actors acting, I dont think it would have the same effect. ” The scene calls back to the films opening sequence, in which Autumn mournfully performs a cover of “Hes Got the Power, ” an uptempo hit by the 60s girl group The Exciters. Captured in Hélène Louvarts luscious, grainy 16mm cinematography, the song and the scene?which also features a retro dance performance and an Elvis impersonation?evokes a sense of being “trapped in time, ” as Hittman put it. This hint of anachronism pervades the whole film, underscoring the failures of the American healthcare system and the fact that, in Hittmans words, “the country just seems to be rolling things back. ” Its a sentiment that felt especially urgent last Friday, when the film premiered in Park City just hours after Trump became the first sitting president to speak at the annual “March for Life” rally in Washington, D. C. To describe Never Rarely Sometimes Always as a PSA seems to cheapen the empathy and scope of Hittmans film. But given the times we live in, Autumns plaintive cry against the patriarchy through that opening songs lyrics?“He makes me do things I dont want to do / He makes me say things I dont want to say”?feels like nothing short of a wake-up call.
In Eliza Hittmans new movie, state restrictions turn a teenagers attempt to end an unwanted pregnancy into a perilous journey. Photo: Courtesy of Sundance Institute The title of Never Rarely Sometimes Always comes from a set of responses one of the characters is asked to choose from during a pre-abortion interview at Planned Parenthood. Her name is Autumn, and shes played by first-timer Sidney Flanigan with a defensively flat affect that only sometimes slips to show the distress underneath. But over the course of an intensely personal series of questions gently posed to her by a counselor, that shield cracks and falls away completely. Whats left is a 17-year-old girl so inured to enduring in silence that shes almost resentful that someone is actually taking an interest in her well-being, no matter how clinical that interest may be. Your partner has refused to wear a condom ? never, rarely, sometimes, always. Your partner has made you have sex when you didnt want to ? never, rarely, sometimes, always. The camera holds on Flanigans face for a long, unbearable stretch in which shes broken open by the act of being asked about herself and not just the pregnancy she traveled across state lines to terminate. Never Rarely Sometimes Always is about the lengths Autumn has to go to in order to obtain an abortion. The “womens health clinic” in her rural Pennsylvania town only offers inaccurate sonograms and screenings of pro-life videos. The state requires minors to get the consent of their parents ? and while the film justly treats the details of how Autumn got pregnant as incidental and unclear, it also implies that the abusive figure in her life is her mothers flinty husband (Ryan Eggold) whos either Autumns father or stepfather. New York requires money ? money Autumn doesnt have until her cousin Skyler (Talia Ryder) a high-school classmate, steals some from the grocery store at which they both work. Never Rarely Sometimes Always isnt agitprop for an era of increasingly restricted abortion access, though itd be entirely justified and effective in being so. It is, simply, a depiction of a reality of our present, and the fact that it often feels like a thriller is a damning reflection of how much peril those restrictions have created, especially for the already vulnerable. Never Rarely Sometimes Always is the third feature from writer-director Eliza Hittman. Her last two films, It Felt Like Love and Beach Rats, were coming-of-age movies in which sex and danger were inextricably intertwined for young characters exploring their own budding desires out in the sometimes hostile kingdoms of adulthood. Never Rarely Sometimes Always is a kind of grim extension of that idea, its protagonist contending with an unwanted outcome of sex and little recourse to do anything about it. The film thrums with the low-level claustrophobic panic of being trapped in a biological process, especially when Autumn starts trying to induce a miscarriage by gagging down handfuls of Vitamin C pills and, when that fails, punching herself in the abdomen again and again. When Skyler steers her cousin toward bus tickets and throws clothes into an over-large suitcase theyll struggle to haul around the city, its a relief and the start of a whole other sort of dread. They have nowhere to stay and not much money, and getting the procedure done will turn out to take longer than an afternoon. Hittmans film is a spiritual sibling to 4 Months, 3 Weeks and 2 Days, Cristian Mungius incredible and incredibly bleak film about university students trying to arrange for an abortion in Nicolae Ceau?escus Romania. The contemporary United States in which Never Rarely Sometimes Always takes place isnt presented as quite so hostile territory ? the brutality it inflicts on its characters is instead done through glancing indifference or abuse so institutionalized that its hardly recognized as such. Its brutality that Hittman sometimes leans into more heavily than necessary, making it seem like the world has nothing but groping hands and transactional demands for these two teenage girls. But its most bruising sequences are quieter ones ? like the chipper way the attendant at the Pennsylvania clinic describes Autumns “beautiful baby” without acknowledging the despair on her face, or when theyre shooed out of Port Authority at one in the morning. These moments dont need to be underscored to be felt and noticed. And the relationship at the heart of the movie doesnt need to be sentimentalized to be heartbreaking. Autumn is not a talker, but Skyler doesnt need her to be ? the decision to venture to New York together is made with no prolonged discussion, an act of loyalty and love that slips by with no fanfare. Its bookended by an act of sacrifice that Autumn acknowledges without saying a word. In a movie thats all about having no sanctuary, whether its in your rural hometown or the streets of Manhattan, a small gesture that feels enormous ? an acceptance of not being alone. Alison Brie Based Horse Girl on Her Own Mental Health History Russell Simmons Accuser Documentary On the Record Headed to HBO Max A Complete List of Movies Sold at Sundance See All Never Rarely Sometimes Always Is an Everyday Thriller.
The following choices may help you when you design an attitude instrument. The bold face sets are the most popular. AGREEMENT Strongly Agree Agree Undecided Disagree Strongly Disagree Agree Strongly Agree Moderately Agree Slightly Disagree Slightly Disagree Moderately Disagree Strongly Agree Very Strongly Disagree Very Strongly Yes No Completely Agree Mostly Agree Slightly Agree Slightly Disagree Mostly Disagree Completely Disagree Tend to Disagree Tend to Agree FREQUENCY Very Frequently Frequently Occasionally Rarely Very Rarely Never Always Usually About Half the Time Seldom Almost Always To a Considerable Degree A Great Deal Much Somewhat Little Often Sometimes Very Often IMPORTANCE Very Important Important Moderately Important Of Little Importance Unimportant Neither Important or Unimportant Very Unimportant QUALITY Very Good Good Barely Acceptable Poor Very Poor Extremely Poor Below Average Average Above Average Excellent Fair LIKELIHOOD Like Me Unlike Me To a Great Extent Very Little Not at All True False Definitely Very Probably Probably Possibly Probably Not Very Probably Not Almost Always True Usually True Often True Occasionally True Sometimes But Infrequently True Usually Not True Almost Never True True of Myself Mostly True of Myself About Halfway True of Myself Slightly True Of Myself Not at All True of Myself Sample Front Page from an Instrument Using a Likert Scale… Del Siegle, Ph. D. Neag School of Education ? University of Connecticut 11/24/2010.
Never rarely sometimes always movie soundtrack. Sidney Flanigan in Never Rarely Sometimes Always by Eliza Hittman (Courtesy of Sundance Institute) Its been three years since writer/director Eliza Hittman won the Sundance Film Festivals Directing Drama Award for her excellent feature Beach Rats, and this year, shes returned to the festival with another quietly devastating, teen-centered drama. Never Rarely Sometimes Always begins at a high school talent show. After a handful of cheerful acts perform and rile up the crowd, 17-year-old Autumn (Sidney Flanigan) takes the stage, performing a raw, emotional cover of “Hes Got the Power” by The Exciters. She broods to the audience: “ He makes me stay when I dont want to stay / He makes me go when I dont want to go. ” Its cathartic for Autumn, who seems to be exorcising some internal demon, until an audience member interrupts her performance, shouting “Slut! ” At her. Autumn immediately recognizes the culprit. Its the same boy at the restaurant where she gets dinner with her parents after the show. The one who taunts her, sticking his tongue against his cheek, feigning fellatio. The same jerk who rightfully gets a glass of water chucked in his face by Autumn as she storms out of the restaurant. The next day, Autumn goes to a health clinic in her upstate Pennsylvania town, where she learns shes 10-weeks pregnant.? The clinic nurse encourages her to consider keeping the child or at least putting it up for adoption. When Autumn floats the idea of abortion, the nurse shows her an archaic pro-life video from the 70s. Autumn researches her options, learning that anyone under the age of 18 is required by Pennsylvania law to have parental consent in order to have an abortion. Autumns sweet cousin Skyler (Talia Ryder) picks up on Autumns increasingly distant behavior while working together as cashiers at the local supermarket. One night when theyre changing out of their uniforms in the locker room, Skyler notices Autumns has developed marks on her back from her bra being too tight. Skyler later finds Autumn vomiting in the bathroom stall. Autumn dances around telling Skyler the truth about her pregnancy, but the cousins share an unspoken understanding. While they empty their registers, Skyler starts pocketing cash. They book bus tickets to New York City, where Autumn can have a legal abortion unbeknownst to her parents. When they arrive in New York, Skyler and Autumn face a frustrating series of setbacks that extends their trip much longer than either expected or prepared for, forcing them to scrape by with no money and nowhere to stay. The chemistry Flanigan and Ryder share throughout Never Rarely Sometimes Always is simply arresting. And whats most impressive is that its primarily achieved nonverbally.? Simple looks and gestures speak volumes to Skyler and Autumns history and their fierce loyalty toward one another, all thoughtfully captured by Hélène Louvars immediate cinematography. Between Beach Rats and now Never Rarely Sometimes Always, Hittman has established herself as a master of the naturalist slow burn.? Its always exciting to be in the hands of a director like her who trusts her audiences intelligence and rewards their patience. Never Rarely Sometimes Always can certainly be a challenging watch ? particularly Autumns attempts to self-induce a miscarriage and her watershed pre-procedure interview at the clinic ? but for Hittmans frank, compassionate portrayal of abortion alone, this is essential viewing. Its haunting work that cuts right to the bone. Never Rarely Sometimes Always will be released in limited theaters by Focus Features on March 13th. Donny Sheldon is a Philadelphia-raised, Los Angeles-based, WGA-award-winning writer. He studied Film & Cinema Studies in college at American University and earned his MFA in Dramatic Writing from NYUs Tisch School of the Arts. Hes followed the Academy Awards race since he was 10 years-old when his (once) beloved Titanic swept the Oscars that year ? although now hes of the opinion that Boogie Nights probably should have done that. You can find Donny on Twitter and Instagram at @dtfinla Continue Reading.
1 win & 2 nominations. See more awards ?? Videos Learn more More Like This Drama 1 2 3 4 5 6 7 8 9 10 6. 8 / 10 X A stripper named Zola embarks on a wild road trip to Florida. Director: Janicza Bravo Stars: Riley Keough, Nicholas Braun, Taylour Paige 8. 3 / 10 A Korean family moves to Arkansas to start a farm in the 1980s. Lee Isaac Chung Steven Yeun, Yeri Han, Yuh-Jung Youn Comedy 7. 9 / 10 When carefree Nyles and reluctant maid of honor Sarah have a chance encounter at a Palm Springs wedding, things get complicated as they are unable to escape the venue, themselves, or each other. Max Barbakow Camila Mendes, Cristin Milioti, Andy Samberg, Fantasy 8. 6 / 10 A reclusive man conducts a series of interviews with human souls for a chance to be born. Edson Oda Zazie Beetz, Bill Skarsgård, Winston Duke Crime Thriller 7. 2 / 10 A young woman, traumatized by a tragic event in her past, seeks out vengeance against those who cross her path. Emerald Fennell Carey Mulligan, Bo Burnham, Laverne Cox 6. 5 / 10 Lost on a mysterious island where aging and time have come unglued, Wendy must fight to save her family, her freedom, and the joyous spirit of youth from the deadly peril of growing up. Benh Zeitlin Yashua Mack, Devin France, Gage Naquin Horror 7 / 10 A widow begins to uncover her recently deceased husband's disturbing secrets. David Bruckner Rebecca Hall, Sarah Goldberg, Stacy Martin 7. 7 / 10 The 40-Year-Old version is a New York comedy about a down-on-her-luck playwright who thinks the only way she can salvage her voice as an artist is to become a 40. Radha Blank Welker White, Haskiri Velazquez, T. J. Atoms A female filmmaker at a creative impasse seeks solace from her tumultuous past at rural retreat, only to find that the woods summon her inner demons in intense and surprising ways. Lawrence Michael Levine Aubrey Plaza, Sarah Gadon, Christopher Abbott Two young brothers from Colombia struggle to fit into their new lives in suburban America. Esteban Arango Wilmer Valderrama, Diane Guerrero, Moises Arias 5. 9 / 10 Life for an entrepreneur and his American family begin to take a twisted turn after moving into an English country manor. Sean Durkin Jude Law, Carrie Coon, Charlie Shotwell Sci-Fi Possessor follows an agent who works for a secretive organization that uses brain-implant technology to inhabit other people's bodies - ultimately driving them to commit assassinations for high-paying clients. Brandon Cronenberg Jennifer Jason Leigh, Andrea Riseborough, Tuppence Middleton Edit Storyline A pair of teenage girls in rural Pennsylvania travel to New York City to seek out medical help after an unintended pregnancy, Plot Summary Add Synopsis Details Release Date: 13 March 2020 (USA) See more ?? Also Known As: Never Rarely Sometimes Always Company Credits Technical Specs See full technical specs ??.
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Never rarely sometimes always wiki. Never rarely sometimes always movie trailer. Never Rarely Sometimes always remember. Click here to read the full article. 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 states parental consent laws, she takes off for New York City with her cousin Skylar (Talia Ryder) where what theyd 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. More from Variety 'Promising Young Woman' Blows Away Sundance by Taking On Toxic Masculinity (and Britney Spears' Toxic. Dick Johnson is Dead' Film Review 'Timmy Failure: Mistakes Were Made' Film Review When we first meet Autumn ? introverted, morose, standoffish ? shes singing a confessional folk take on “Hes 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 womens 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 parents 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 Autumns 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 theyd 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, its 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 its 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. Hittmans 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 Autumns unborn child, though the film subtly offers two possible candidates ? neither are good, and one is particularly bad. The scene that provides the films title is a gut-churning back-and-forth at a clinic that opens several new doors into even darker chapters in Autumns past, all of which are left purposefully, and hauntingly, unexplored. We may not quite get under Autumns skin, but thats by design. It isnt just that she holds everyone at arms length, but that shes 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 Autumns inner life, only to quickly raise her defenses again as soon as she realizes that shes 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 Skylars almost telepathic communication. With just a shared glance, a squeeze of the hand, or a minute spent applying one anothers 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 whats most remarkable about “Never Rarely Sometimes Always” is the way it manages to honor the gravity of Autumns experience without ever sensationalizing it, or allowing the film to veer toward melodrama. Its clear that taking this trip is one of the biggest, scariest things shes ever done, but once the film fades to black, its easy to imagine Autumn resuming her life more or less the same way it had been before. Its 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. Sign up for Varietys Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.

Never Rarely Sometimes alwaysdata. No upcoming screenings. Available No Tickets Available [ artDate, amDateFormat: dddd, MMMM Do" artDate, amDateFormat: h:mm A. You may not purchase more tickets at this time. About U. S. Dramatic Special Jury Award for Neorealism Autumn, a stoic, quiet teenager, is a cashier in a rural Pennsylvania supermarket. Faced with an unintended pregnancy and without viable alternatives for termination in her home state, she and her cousin Skylar scrape up some cash, pack a suitcase, and board a bus to New York City. With only a clinic address in hand and nowhere to stay, the two girls bravely venture into the unfamiliar city. Writer-director Eliza Hittman ( It Felt Like Love, Beach Rats) masterfully creates a spartan cinematic language through gestures and details, where subtext is just as important as written dialogue. Cinematographer Hélène Louvart shoots on 16 mm film, evoking a grainy, bleak, and stark atmosphere, capturing the young actors, Sidney Flanigan and Talia Ryder (both discoveries) in intimate close-ups that accentuate the complexity of their natural, minimalist performances. With bracing clarity and understated emotion, Hittman fearlessly tells the story of a teenage girl making an arduous journey, through which a bigger statement emerges?that of reclaiming her body and her spirit. YEAR 2019 CATEGORY U. Dramatic Competition COUNTRY U. A. RUN TIME 101 min COMPANY Focus Features WEBSITE EMAIL PHONE (212) 887-0685 Credits Director Eliza Hittman Screenwriter Producers Adele Romanski Sara Murphy Executive Producers Rose Garnett Tim Headington Lia Buman Elika Portnoy Alex Orlovsky Barry Jenkins Mark Ceryak Director of Photography Hélène Louvart Editor Scott Cummings Production Designer Meredith Lippincott Casting Directors Geraldine Barón Salome Oggenfuss Costume Designer Olga Mill Composer Julia Holter actor Sidney Flanigan Talia Ryder Théodore Pellerin Ryan Eggold Sharon Van Etten Artist Bio Eliza Hittman is an award-winning filmmaker, born and based in Brooklyn, New York. Her last film, Beach Rats, premiered in the U. Dramatic Competition at the 2017 Sundance Film Festival, where she won the Directing Award. It premiered internationally at the Festival del film Locarno in the Golden Leopard Competition and was the Centerpiece Film at New Directors/New Films. Beach Rats was released domestically by NEON and was a New York Times Critics' Pick.
In the most startling scene in “Zola, ” Janicza Bravos gleefully amoral firecracker of a movie, two young strippers conspire to make 8, 000 over a single night in a Florida hotel suite. Zola (Taylour Paige) the brains of the operation, urges Stefani (Riley Keough) a prostitute, to up her rates to 500 a pop. The trick-turning montage that follows is a jaw-dropper, not only for the many shapes and sizes of male genitalia on display, but also for the range and variety of Bravos visual tricks, some of which ? a scrolling image feed, a heart-shaped “like” button ? mimic the interface of Instagram. With its mix of insouciant form and outrageous content, “Zola” got the Sundance Film Festivals U. S. dramatic competition off to a flashy start on Friday afternoon. Better movies were soon to follow, including Eliza Hittmans competition entry “Never Rarely Sometimes Always, ” a very different story about a road trip taken by two young women in over their heads. But flash can have its uses, especially in “Zola, ” a forthcoming A24 release whose style feels vividly of a piece with its storys unconventional origins. This is the first movie Ive seen that was inspired not by a book or a play, but by a Twitter thread ? a highly addictive narrative composed in 148 tweets by a Detroit-based Hooters waitress and exotic dancer named AZiah “Zola” King. Her wild and crazy yarn, about 48 hours she spent on the road with a new friend named Jessica (the real-life Stefani) became a 2015 viral sensation ? an eminently retweetable tour de force of humor, suspense and hair-raising violence. It was also a canny demonstration of the pleasures of an unreliable narrator. While King later admitted to having embellished details for dramatic effect ? for a fuller, truer picture, you can read David Kushners lengthy Rolling Stone article ? the movie that Bravo has made of her exploits is largely faithful to that initial tweetstorm, for better and for worse. “You wanna hear a story about why me and this bitch here fell out? ” Zola asks at the outset, before plunging us into a whirlwind of incident, starting with the moment she befriends Stefani in a booth at Hooters and then jumps into an SUV with her and two other companions, presumably to make money from a pole-dancing gig down in Tampa, Fla. But a more sinister game is afoot: The man in the drivers seat (Colman Domingo) turns out to be Stefanis pimp, while her clueless, cuckolded boyfriend (“Successions” Nicholas Braun) rides in the back. Because going on a road trip, like pole dancing, is an inherently cinematic activity, the visual experience of “Zola” enhances and enlarges Kings twisty narrative in some obvious ways. The Florida sunshine casts its own woozy spell in Ari Wegners 16-millimeter images, as does Mica Levis atmospheric score, punctuated every so often by Twitter-notification sound effects. Certainly you couldnt ask for better actors to play the four principals, especially Paige, who needs little more than her exquisite side-eye to turn Zola into a winningly smart protagonist. She may have been hoodwinked into these trick-turning, gun-waving shenanigans, but she crucially refuses to become a passive observer or participant. A Panamanian-born filmmaker who was at Sundance in 2017 with her debut feature, “Lemon, ” Bravo co-wrote “Zola” with the playwright Jeremy O. Harris, whose divisive “Slave Play” advanced a daring thesis about how black-white relationships retain the psychological vestiges of chattel slavery. “Zola” seems to be in conversation with that argument, insofar as it centers on a black woman who finds herself deceived and effectively kidnapped by a white woman ? and a white woman who, as played with fearless commitment by Keough, has clearly pilfered most of her persona and style from African American culture. Its a persuasive argument and an apt foundation for a buddy comedy with a sociopolitical sting in its tail. But as funny and ferocious as much of “Zola” is, its let down by an increasingly haphazard script that doesnt know how to either sustain its humor or negotiate its turn into darker territory ? and so, disappointingly, it waffles. In the end, the movie doesnt have the clear-eyed smarts of a grifter fairy tale like “Hustlers, ” much less the hypnotic power of a girls-gone-wild classic like “Spring Breakers, ” to name two movies whose pleasures went beyond their luscious surfaces. But theres no denying its a dazzling ride while it lasts. Sidney Flanigan in the movie “Never Rarely Sometimes Always. ” (Focus Features / Sundance Institute) The writer-director Eliza Hittman is herself no stranger to sunshine and sensuality, as evidenced by her gorgeous first two features, “It Felt Like Love” (2013) and “Beach Rats” (2017) each one an erotically charged coming-of-age story set during a sweltering Brooklyn summer. But her spare and shattering new movie, “Never Rarely Sometimes Always, ” is a decidedly chillier piece of work, set as it is during the fall months in a small Pennsylvania town. And while the aptly named Autumn (astonishing newcomer Sidney Flanigan) being a glumly inarticulate 17-year-old, would seem to fit the usual profile of a Hittman protagonist, her sexual awakening, which has long since come and gone, is not the pictures subject. Autumn has retreated into herself for reasons that are unclear at first, but which seem to go beyond the usual teenage moodiness. Boys at school mock her crudely and often; her own family is distant and inattentive. The only person she seems to be close to is her cousin, Skylar (Talia Ryder) with whom she works as a grocery store cashier. When Autumn suspects and then confirms that shes pregnant, Skylar is the only person she tells. Exchanging meaningful glances but few words, they quickly pack a suitcase and head by bus to New York City, so that Autumn can receive an abortion without her parents knowledge or consent. But small-town life has done little to prepare them for the overwhelming bustle of Manhattan, where they must deal with unexpected setbacks, unsavory encounters and a fast-dwindling cash supply. Watching “Never Rarely Sometimes Always” ? a title whose meaning is revealed in a single scene of slow-building emotional force ? its hard not to sense the influence of Belgiums Dardenne brothers, with their often relentless focus on a youthful protagonist at a moral crossroads. (And also, too, their genius at discovering first-time actors. I was also reminded of “4 Months, 3 Weeks and 2 Days, ” Cristian Mungius haunting 2007 film about a teenager who helps her best friend secure an illegal abortion. That movie was set in the 1980s, under Romanias communist dictatorship, and if Hittmans film never descends to the same depths of bleakness, its realism is no less compromising, its portrait of resilient friendship just as affecting. Remarkably, the movie, which will be released by Focus Features, seems to draw every emotional layer out of a scenario with no good options, but without tilting into overt miserablism; there are consoling grace notes of humor and tenderness here, too. Hittman captures the feeling of what its like to be adrift in one of the worlds biggest cities, where the Port Authority Bus Terminal takes on the quality of a metropolitan purgatory. But she and cinematographer Hélène Louvart have the confidence to let most of the drama play out in Flanigans face, which slips among minutely detailed registers of confusion, defiance and, by the end, something like hope.
'Never, Rarely, Sometimes, Always' Casting Call, Adele Romaski, Sara Murphy - Film Auditions, Backstage. 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. Shes introduced singing her heart out at a talent show?after her classmates have all either lip synced or done dance routines. Theres something melancholy in Autumn thats not in most of her peers, and her only friend seems to be her cousin and co-worker Skylar ( Talia Ryder. Its not long before we learn whats weighing on Autumns mind?shes 17 and pregnant. Eliza Hittman, the writer/director of “ Beach Rats, ” returns to Sundance with her best work yet, a powerful drama thats 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. Ill 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 doesnt 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 its 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 wasnt expecting. What really elevates Hittmans work here is the sense that Autumn and Skylar are making believable, character-driven decisions on the fly. Whether its Autumn piercing her nose after finding out shes 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 thats 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 its a breathtaking sequence, one in which it feels like Autumn herself is forced to come to terms with things shes buried, even if just for a few minutes. Flanigan is remarkable in this scene, and throughout the film, and shes 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. Its mostly a pacing issue in the center of the film, but this is a minor complaint for a major, personal work. Hittmans visual acuity doesnt draw attention to itself, but dont 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.? Theres an artistry to the filmmaking here that elevates what really matters?her character work. Its so hard to make stories of young people that dont feel like theyre 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 wont forget them.? This review was filed from the 2020 Sundance Film Festival. Reveal Comments comments powered by.
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Posted on Sunday, December 22nd, 2019 by Eliza Hittman has been a Sundance Film Festival favorite since her debut feature? A Lot Like Love took Park City by storm in 2013. Her critically acclaimed LGBT drama? Beach Rats followed in 2017, and now, Hittman has a new potentially heartbreaking drama that will debut at Sundance this January.? Never Rarely Sometimes Always is a drama following a teenage girl in Pennsylvania who faces an unwanted pregnancy. Watch the? Never Rarely Sometimes Always? trailer below. Never Rarely Sometimes Always Trailer Since her 2017 breakout hit? Beach Rats won her the Directing Award at Sundance, Hittman has been steadily working on her latest feature while directing episodes of television for shows like HBOs? High Maintenance and Netflixs? 13 Reasons Why. Now shes coming back to her stomping grounds at Park City to debut her new potentially soul-crushing drama? Never Rarely Sometimes Always. Referring to the questionnaire? Sidney Flanigan ‘s teenage Autumn answers at an abortion clinic in New York,? Never Rarely Sometimes Always looks to be an intimate and moving coming-of-age drama, right in the vein of Hittmans short but acclaimed filmography. The moving trailer is set to the 2019 power ballad “Seventeen” from singer/songwriter Sharon Van Etten, who also stars in the movie. The film follows Autumn as she is faced with an unintended pregnancy and, alongside her cousin Skylar ( Talia Ryder) travels to New York City to take care of it. The film also stars?T héodore Pellerin, Ryan Eggold, and Sharon Van Etten. Here is the synopsis for? Never Rarely Sometimes Always: An intimate portrayal of two teenage girls in rural Pennsylvania. Faced with an unintended pregnancy and a lack of local support, Autumn and her cousin Skylar embark on a brave, fraught journey across state lines to New York City. Never Rarely Sometimes Always hits theaters on? March 13, 2020 following a? January 24, 2020 premiere at Sundance. Cool Posts From Around the Web.
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