Directed by Alyssa Rallo Bennett and written by Gary O. Bennett, Sloane, a young woman living in Texas, finds out she is pregnant and has to answer to her mother and her boyfriend. Starring: Mizz, Saori Goda and Sebastian Mora.
When Compulsion begins, its style is understated, there’s a subtle humour at work and a nice dose of awkwardness. Then as it moves forward, those feel like intentional choices to disarm audiences, to underscore the huge issues that it’s headed towards. It starts out by introducing viewers to the very relatable and traditional relationship between Sloane (Mizz) and her mother (Saori Goda). Their back and forth feels comfortingly familiar and they quickly create an authentic connection.
That initial moment already dips its toes into new abortion laws in the US with the reversal of Roe v. Wade, with Sloane’s options being limited and far away. Then as the story progresses, it moves into the concept of rape by deception, a topic still very much developing, especially legally, in regard to contraception and its role in consent. Then eventually it finds its way into the idea of control, manipulation and the long-term consequences of removing safe options for abortions. These are all extremely important issues in the US right now and it’s always great to see filmmakers providing a space for those conversations.
However, it doesn’t always feel like Compulsion has the tightest of grasps on the bigger picture. It scratches the surface of its different angles but there’s a darker reality at the end of its road that it seems like Gary O. Bennett isn’t truly acknowledging. It portrays the vital nature of these subjects but misses out on capturing their depth and the genuinely horrifying possibilities that they hold. There is ultimately a certain amount that’s implied but the tone doesn’t hit hard enough to significantly drive it home. Another aspect of that is the atmosphere remains mostly on the same level, rather than intensifying with the story’s development, which might have provided more weight and impact.
On the other hand, one of the aspects which does attempt to capture the severity is the performances from Mizz and Saori Goda. Goda in particular does a great job of portraying the protective nature of a mother, as well as the logical approach to the problem, and adds a very appropriate tinge of fear. Which is echoed by Mizz, who goes through a superb level of emotion in this performance, hitting the right notes in her evolution from calm to confused to concerned to enraged. Whereas Sebastian Mora doesn’t feel like he’s got a good handle on the drastic changes in tone that Steve goes through. There’s a power struggle and threat at work that feels undersold, and the use of the Texan accent tends to fade in and out.
Compulsion opens up a vital conversation about the state of women’s health and rights in America right now. It may not have the space or time for a deep dive into the discussion, but it approaches it in a way that’s accessible and relatable. Especially in making it an experience between mother and daughter, Mizz and Saori God both give sympathetic and strong performances. Alyssa Rallo Bennett’s direction gives them the room to take the lead, playing things with a simple but thoughtful style.
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