Movies

In the riveting, interior ‘April,’ a doctor who helps women in need is targeted

BBG News

In the unsettling second film by writer-director Déa Kulumbegashvili, titled “April,” a mysterious, almost otherworldly being is present. Initially seen in the opening scenes, this creature lacks eyes, a mouth, and a face, its body taking on an appearance similar to a shapeless sack. It moves with an eerie gait that suggests something other than human, and it recurs throughout the film, each time causing disquiet without any clear explanation of its return. Interestingly, this enigmatic being is scarcely more comprehensible than the intriguing central character of the movie itself.

Calling “April” an abortion drama is correct but it only touches upon the film’s intricate mix and reinterpretation of genres. The movie, having won a Special Jury Prize at the Venice Film Festival, is set in Georgia and features Ia Sukhitashvili as Nina, a skilled obstetrician. At the start, Nina witnesses a heartbreaking event. Kulumbegashvili immerses us in a delivery room, capturing the intense struggle of an expectant mother to give birth. The filmmaker’s camera leaves nothing hidden as the medical staff desperately attempt to deliver the child. Shortly after declaring the baby dead, the woman’s husband accuses Nina, and her stern supervisor (Merab Ninidze) initiates an investigation into what went wrong.

I deeply sympathize with Nina’s predicament as it transcends the fear of losing her job. It’s no secret that Nina discreetly provides abortion services to those in economically disadvantaged rural areas, a practice that is legal within the first 12 weeks in Georgia. However, living in a society that is deeply conservative and patriarchal, this practice is effectively forbidden. Any scrutiny towards Nina could reveal her covert actions, potentially damaging her professional standing and jeopardizing her capacity to assist more women, whether by helping them bring new life into the world or terminate unwanted pregnancies.

This setup hints at a potential thriller, but Kulumbegashvili (who previously cast Sukhitashvili in her 2020 debut “Beginning”) is aiming for something more elusive. This is evident in her portrayal of the protagonist, whose inner world remains shrouded in mystery. She is frequently shown on-screen from a distance or in the background, her facial expressions always subdued, giving Nina an air of detachment as she navigates this simmering crisis without any obvious tension or distress. Sukhitashvili maintains emotional distance with her character, and her actions remain enigmatic. One evening, Nina drives into the countryside, picking up a stranger randomly and offering him oral sex. Did she do this before? If so, what triggers it? These questions are left unanswered, adding to the tantalizing mystery of that night’s surprising encounter.

Movies

For Subscribers

The 27 best movie theaters in Los Angeles

We’ve identified 27 top-notch cinemas in Los Angeles, including the TCL Chinese Theatre, the New Beverly Cinema, the Alamo Drafthouse, and the AMC location in Burbank, which is the most prominent.

In a departure from typical storytelling, the movie “April” focuses intensely on deeper, existential issues such as the heavy gloom enveloping Nina, rather than adhering to established genre conventions. The film is shot in a confined aspect ratio, which adds visual tension and symbolizes Nina’s entrapment within her circumstances. Tracking shots are used subtly to reveal insights into her mindset. When Nina isn’t on-screen, we can hear her labored breathing, indicating the silent tension that plagues her. This clever narrative device makes even the film’s calmest moments feel tense and as if they’re being experienced through Nina’s perspective. The stunning cinematography by Arseni Khachaturan, featuring breathtaking Georgian landscapes filled with vivid red flowers in lush fields, is juxtaposed with the internal turmoil of the character immersed in those beautiful sights.

Kulumbegashvili’s realistic approach to filmmaking captures the sterile and clinical atmosphere of hospital births, highlighting the detached professionalism of the protagonist Nina. The birthing process is portrayed with similar directness as an abortion. Nina maintains a reserved demeanor, focusing on her work with pregnant women while occasionally consulting David (Kakha Kintsurashvili), a compassionate coworker leading the crucial investigation. They once shared a romantic relationship, a fact that still troubles him. In a significant moment, David inquires, “Why didn’t we get married?” At this point, Nina is out of frame as she responds softly, “It wouldn’t have worked. There’s no room for anyone in my life.

We can hear her, but we don’t always see her. Nina often feels hard to get close to. The movie “April” shows how she dedicates herself to helping women in distress, which is admirable but also seems to drain her emotionally. It might be a way for her to protect herself from the anger and powerlessness she experiences. The filmmakers use realistic scenes to depict a harsh, sexist world that’s tough to escape, much like the mysterious entity in the story that keeps appearing, symbolizing a society that exploits Nina and the women she helps.

The movie “April” isn’t strictly a thriller or horror, but its eeriness lies in its ambiguity about the reasons behind Nina’s withdrawal from life, despite her commitment to helping others. Towards the end, she is reprimanded for her unlawful actions, which prompt Nina to respond curtly and wearily: “If it’s not going to be me, it’ll be someone else.” Even when she’s off-screen, her voice of morality still echoes.

Read More

2025-05-03 01:31

Previous post Oblivion Remastered: The Ultimate Battlemage Build Guide (Race, Skills, Gear & Spells)
Next post Love Island’s Megan Ends Abusive Relationship, Feared for Life