Never Rarely Sometimes Always Review (4/5/2020)

Never Rarely Sometimes Always is a film that I’ve had on my radar ever since Sundance, with my anticipation only increasing the more it lit up film festivals. After being thwarted in at least one attempt to see it in theaters right at the start of the coronavirus quarantine, I was wondering when, if ever, I would finally be able to see it. Cut to two days ago, and my discovery of the film’s availability on FandangoNOW, and I finally was able to see it. It did not disappoint.

Never Rarely Sometimes Always is the third film by independent director Eliza Hittman. Having not seen her first two films, I feel that this is a very strong introduction to her voice. Following closely in the footsteps of the realist movement while still making the story her own, Never Rarely Sometimes Always is the rare film that trusts entirely in its audience’s ability to empathize with its characters regardless of their flaws. It makes no effort to dress up the protagonist or its plot in an easily digestible candy coating, instead simply showing us the events as they happen and letting us decide for ourselves. Autumn, the main character, isn’t a force for good or evil; she’s just a person, with all of the qualities and flaws that come with that, and because of this, Never Rarely Sometimes Always feels real in a way that a lot of other movies don’t.

Make no mistake, though, there is a plot here, and an intent from the filmmaker. It’s just that it all feels real. There’s no heavy handed exposition or overuse of emotionally manipulative tactics. Instead, we see the world through the protagonist’s eyes as it is, and our understanding of it is reflected through hers. There’s not actually all that much dialogue, but there doesn’t need to be. Emotion and plot is conveyed through direction, through acting and visuals, through the gestures the characters make towards each other and the emotions they show on their face. In other words; it’s cinema in one of its purest forms.

This may make it a hard sell for some, as mainstream filmmaking has drifted further and further from this approach. Indeed, Never Rarely Sometimes Always is a quiet, contemplative film; one that may have more meaning to a viewer upon reflection and contemplation than during the actual viewing experience itself. That’s not to say that the experience of watching it is worthless; even on a surface level, the film is an engrossing and emotional experience. But it’s one that gets under your skin, and the more you think about it, the more you like it.

Of course, I need to talk about the elephant in the room here; the subject matter. To say abortion is a touchy subject would be an understatement, and some may be put off by that alone. If you’re pro life or uncomfortable with the subject in other ways, this may not be something you should watch. At the same time, though, the issue is portrayed beautifully. Never Rarely Sometimes Always is uninterested in debating the morals and ethics of abortion. Instead, Autumn makes the choice to have one, and the film trusts her judgement. Unfortunately, the rest of the world seems not to, and the process she must go through to get one is unnecessarily cruel. But abortion is seen not as an act of violence, but an act of self-agency. The world of Never Rarely Sometimes Always is one where young girls like Autumn are constantly trapped and constrained by the wills of the men in their lives, and by society at large. Autumn has had a troubled past full of abuse and victimhood, and the abortion is seen as the first step towards her living a life that is not only one of survival, but one of self-realization. She is taking back her agency over not just her body but herself, and that’s the true meaning and beauty of the film.

There’s a lot more I could say about Never Rarely Sometimes Always; I could talk about the themes of friendship, the presence of the female gaze, the powerful acting and immaculate direction. For now, though, I’ll leave it at this; Never Rarely Sometimes Always is an excellent film, and an early contender for one of the best films of the year. I’d recommend it to anyone who is interested in the portrayal of abortion or women in film, or just anyone who is interested in a quiet, engrossing character drama. It’s worth the hype.