currently available for home viewing is never really sometimes always — a brilliant drama from eliza hittmanductive rights through a coming—of—age story that presents a note—perfect portrayal of female friendship. i saw you were not at school today. i went to the doctor. are you ok? yeah, i'm fine. what's wrong? girl problems. combining the melancholy realism of midnight cowboy with humanism, this is a remarkable film from an oustanding film—maker. it is honest, truthful and powerful. do not miss it. i will leave you with a reminder that even though cinemas are currently closed, there is a whole wealth of movie heritage out there on the web with films like the third man coming to bfi player on monday, giving you a chance to catch up on all those classics you'd always wanted to watch. that's it for this week, thanks for watching the film review, and i will be back next week with more home viewing treats. a lot of sunshine around today but there is also a few blustery showers about. and across the northern half of the uk the winds have been howling the last day or so especially around western

from eliza hittman, writer—director of the brilliant beach rats, comes another drama that manages toombine the gritty authenticity of a documentary with the poetic sensibility of pure cinema. that looks like a positive. if it's positive, is there any way it could be negative? no. a positive is always a positive. in never rarely sometimes always, hittman investigates an urgent contemporary issue but does so through a coming—of—age story that presents a perfectly observed portrayal of female friendship. sidney flanigan is autumn, a 17—year—old from pennsylvania who discovers that she can't get an abortion in her hometown without parental consent. quietly desperate, she travels to new york with her cousin, played by talia ryder, where these young women find themselves effectively living on the streets while waiting for the procedure that autumn was denied in pennsylvania. where's the rest of the money? the title, never rarely sometimes always, comes from the multiple—choice answers to a series of questions that autumn is asked for the procedure — questions about her health, her history,

from eliza hittman, writer—director of the brilliant beach rats, comes another drama that manages todocumentary with the poetic sensibility of pure cinema. that looks like a positive. if it's positive, is there any way it could be negative? no. a positive is always a positive. in never rarely sometimes always, hittman investigates an urgent contemporary issue but does so through a coming—of—age story that presents a perfectly observed portrayal of female friendship. sidney flanigan is autumn, a 17—year—old from pennsylvania who discovers that she can't get an abortion in her hometown without parental consent. quietly desperate, she travels to new york with her cousin, played by talia ryder, where these young women find themselves effectively living on the streets while waiting for the procedure that autumn was denied in pennsylvania. where's the rest of the money? the title, never rarely sometimes always, comes from the multiple—choice answers to a series of questions that autumn is asked for the procedure — questions about her health, her history, and most importantly, her safety. t