by Shane Conto
What have films up to this point about a young woman seeking an abortion been missing? Car chases of course! Unpregnant is a strange and oddly rendered road trip film. The tone of the film really leans into genre tropes of classic road trip movies where main characters run into silly and madcap scenarios that are either played for thrillers or for laughs. The film also centers around the former friendship of our main character Veronica, played by Haley Lu Richardson, and Bailey, played by Barbie Ferreira, who was once her closest confidant.
The film could have really worked on that level as a buddy comedy on the road.
But the main focus of the film is centered around Veronica seeking an abortion. This is a serious topic and I am not quite sure if we are ready to joke so much with a young woman’s journey across multiple states to escape a fate she wants to avoid. So how does this film turn out? Does it do justice to its sensitive subject matter? Or does it make light of it as it leans into the comedy? Let’s talk about it.
Unpregnant a small group of writers that pull together to write this script including the director of the film, Rachel Lee Goldenberg. This film flies high on the great relationship that is put together between Veronica and Bailey. The groundwork for this friendship is perfectly realized as there are small moments that show how deeply connected the two young characters once were (an elongated handshake reflects that so well). As you follow their journey, you see how they slowly reconnect in an organic way. I really credit the writers for making these two characters feel fully fleshed out and had complexities not only separately but their relationship as well.
The commentary that the film presents about abortion is poignant…when they are taken seriously.
You feel the frustration of Veronica as she struggles with the trials of her journey to make it to the clinic. Just the fact that this big of a journey is needed is surprising in itself. But where does this script fall off? Unfortunately, the film decides to turn into National Lampoon’s Vacation. There are so many madcap and ridiculous subplots and roadblocks along the way that makes for horrible tonal shifts that completely took me out of the film. The film feels like it struggles with the committee of writers putting it together.
Some of the same problems that stem from the strange asides and subplots in the script bleed over to the direction of the film as well. Goldenberg is firing on all cylinders for most of the film, but those particular scenes I mentioned before have a distinctly different tone compared to the rest of the film. They either feel like they are out of some action/thriller at moments or they feel like an absurdist comedy (like the previously mentioned Vacation). Even though some of the scenes do not quite work in the bigger picture of the film, Goldenberg does show that she has talent behind the camera. The pacing is zippy and has some great energy about it.
The heart and charm can be felt in a tangible way throughout the film when it focuses on our two young leads.
The director is able to get top notch performances out of these two actresses. Richardson is immensely talented as she just oozes charisma throughout any project that is placed in front of her. Unpregnant is no different as she sells the tough situation that she finds herself in as well as selling her rekindled friendship through subtly and her natural spark. Barbie Ferreira delivers as well as she continues to show that energy and confidence that she shared in her role on the HBO show, Euphoria. In the end, this film really works the best when Goldenberg allows Richardson and Ferreira to take control and bring their characters to life.
The unfortunate nature of a film like Unpregnant is all the more frustrating.
Is there enough great material to make up for the sizable missteps included? Does the film deliver enough charm and charisma to overcome a serious topic being belittled for the sake of the genre of the film? Do the road trip and coming-of-age aspects work so that the film can get away with insensitive representation of a hot-button issue? What it really comes down to is this…how much can you forget and forgive to enjoy the really quality cinema that makes up most of the film?
Grade: C