Happening

CinemaSerf

"Anne" (Anamaria Vartolomei) is a young student studying to be a teacher, when she starts to feel stomach cramps. A visit to the doctor reveals that she is pregnant and the remainder of this drama relates to her decision not to have the baby. That's quite a stance to take in 1960s France where, much like in most of the rest of Europe, abortion is illegal, dangerous - and costly! It was an one-night-stand with "Max" (Julien Frison) that led to her condition, so she goes to visit him to see if he can help, but that's not much use and she finds herself largely alone trying to raise the money needed whilst her natural pre-occupation causes her grades to suffer. Much of the buildup to this autobiographical story is nothing special, to be honest; but for the last twenty minutes it becomes actually quite compelling. It reminded me of Imelda Staunton's excellent "Vera Drake" (2004). Not since then have I seen a film that openly deals with the dangers of backstreet abortions, of the stigma attached to those people who this who saw this as their only practical solution - and Vartolomei delivers her part confidently in what is essentially a strong, single-handed, performance that is quite effective at drawing us into her predicament and at making us think.

Summary: 8/10: an unflinching period piece that plays less like history than warning, a reminder that bans don't end abortions, they just decide who survives them. Some films arrive like an arrow already in flight: sharp, direct, impossible to deflect once it's found its mark. Audrey Diwan's *Happening* is one of these. Set in 1963 France, it is a powerful, well-made, emotional plea for a woman's control over her own body, and it lands with the force of something that should feel like ancient history but doesn't. That's the uncomfortable truth this film forces us to confront: less than half the world's countries currently allow legal abortion. In the United States, we once had more generous protections than this film's 1963 France; now, thanks to the orange menace and his grifting, misogynist enablers, only 27 states offer any meaningful access to abortion in the first trimester. We didn't move forward from 1963. In large parts of this country, we moved backward into it. What *Happening* understands, and what the architects of these laws refuse to, is that criminalizing abortion doesn't prevent it. It just makes it lethal. The fetus dies anyway, more often than not; sometimes the mother does too. This isn't ideology, it's documented history, written in back-alley instruments and septic wards and the bodies of women who had nowhere else to turn. If you want a face for that history, look up Gerri Santoro. Her story became one of the defining images of the American pro-choice movement, and it still has something to teach anyone tempted to believe that outlawing abortion saves lives rather than simply relocating the danger. Diwan's film doesn't lecture. It doesn't need to. It simply shows what desperation looks like when the law offers a woman no humane path forward, and lets that image do the political work. Sixty years on, that image hasn't lost its charge; if anything, in the America of 2026, it has regained it.