Never Rarely Sometimes Always

Never Rarely Sometimes Always ★★★★

The politics of living. Hittman two early films were both teenage "thrillers" about sexual desire equally sensual and harsh. Her major gift is one of having a knack for proposing a subjectivity inside what's a very naturalistic tableaux. That's why I don't get the recurring comparison with Mungiu's fine 4 Months, 3 Weeks, 2 Days, a misery fest with general similar subject matter (two young women trying to get an abortion) that is very proudly deterministic and objective which wouldn't be at all how I describe this. The emphasis here is all in the main characters small negotiations as she goes along the many barriers she has to pass to get thr procedural done, it is full of realistic detail and a tendency to zero in the minutae, but it is fundamentally experiential as filtered as it might be by a matter of fact approach, There's easily detected talking points throughout the script as it acknowledges every available roading block (and throw its fare share of shitty male behaviour in the borders that help contextualizes them), but it is all shot in a way that shifts the politics to how Autumn negotiates through them. That's a remarkable assured performance by Flanigan,and she has a great very recognizable raport with Ryder with companioship being emphasized while also remaining removed, it just sucks to need someone support that much, you both appreciate and ressent the other person, that's not a dynamic movies get on that often, certainly not one like this. As a whole Never Rarely Sometimes Always expands on Hittman subjectivity studies by making it even more explicit how much it exists in a fraught struggle between self and the world outside, the teenage self centered introspection and how others relate to you, that becomes underlined in the big interview scene that give the movie its title but is already there from the opening musical performance onwards.

Filipe liked this review