Ray’s review published on Letterboxd:
Great poster right there, that is.
I've mentioned it a few times but I am perhaps even more inherently skeptical of films wherein I am the choir to which is being preached than not, but this is one of the more successfully vital documentaries tackling an issue I've seen this year. That it's about one of my more personally-invested topics, reproductive rights, makes me wonder if I need to have a closer eye on myself in that regard, but nonetheless it's an interesting thing actually getting a chance to see the entire abortion process in work, and to bristle against the sort of weasely ways the aforementioned rights are being chipped away at.
It's sorta a mix between something like a Wiseman-esque take on the institution where most of this is set and a more traditional documentary, in that way, but I'll say that both elements have their completely necessary dimensions; most of the best parts of the movie come in documenting the actual place itself (seeing the workers grapple with inane demands set by the state, esepcially) rather than a surface overview of the history and current state of legislation (one that can still manage to bite more than it can chew, perhaps), but a Wiseman take on this would never manage to weave in, say, how crucially religious many of these people working here are. It is Alabama, after all. Ultimately, it ends up being something where its well-meaning aligns with an able construction, something not-infrequently hard to come by.
Also, this is one of the documentaries that Kirsten Johnson, director of Cameraperson, shot, and to see the absolutely minuscule kernel here that got blown up into one of the most beautiful scenes in that entire film is not only kinda mindblowing, not only enhances my view of that movie all the more, but adds further fascinating dimensions to it. If you're going to watch Cameraperson, I would highly recommend this to follow it up because you'll know the moment here I'm referencing and less than three seconds later it'll have passed and that's as big a conceptual payoff as any within the film itself.