The much-anticipated film debunks Hollywood stereotypes around abortion and motherhood
that, yes, is about getting an abortion but which is also really different,” she admits. “It’s important not to be monolithic in the way that these stories are told.”in comparison to its peers, though, is a candour about the physical after effects of abortion, as well as its striking lack of shyness around menstruation. As O’Sullivan has jokingly written, it could be well be called ‘’.
By gently moving away from the notion that abortions are limited to a specific demographic – though the film does little to shake the prevailingly white and middle-class nature of most representations of abortion –reminds us that experiences with pregnancy or parenthood are rarely as linear we’re commonly led to believe.
“It was really important that we show that Bridget is able to have this very loving, meaningful relationship with a child and still end the movie not sure whether she wants to be a mother herself,” O’Sullivan says. “The trap of the Hollywood version of this movie would be ‘oh Bridget learns through this relationship that she now wants to have kids’ and we really wanted to reject that.
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