Look Both Ways and the Overturning of Roe V. Wade

BY DANIELLE NODELMAN

IN TIMES OF SOCIAL and political uncertainty, we often turn to films for entertainment and, perhaps, to gain a better understanding of the world around us. In them, we look for insight into contemporary questions, analyzing their impact on society and the ideals they uphold in the current social-political climate. We see movies reflecting real-life political movements and events–whether or not their creators intend for them to do so. The Netflix film Look Both Ways , directed by Wanuri Kahiu and starring Lili Reinhart, is no exception.

The film follows the story of Natalie, a twenty-two year old college senior who, after having sex with her friend, Gabe, takes a pregnancy test the night before graduation. At the moment her pregnancy test results are ready, the story splits into two parallel universes–one in which Natalie is pregnant and becomes a young mother, and another in which she is not pregnant and moves to Los Angeles to pursue a career in animation. Though the film was set to release on August 17th, I first watched the trailer in July–still reeling from the Supreme Court’s decision to overturn Roe v. Wade on June 24th just a few weeks earlier. Feeling the weight of the historical moment, I was immediately drawn to this story and wanted to know more. Intriguingly, the film tells a story about how carrying a pregnancy to term and raising a child can alter a life course, yet barely considers abortion as an option. In fact, the only (brief) mention of the possibility of abortion is in the positive pregnancy test storyline, when Natalie reveals to Gabe that she is pregnant, to which he responds, “I support you with whatever you choose… I’m pro-your-choice.” The decision to limit discussion about abortion in this movie is especially fascinating considering that the story takes place in Texas, a state that prohibits abortion unless the pregnant person’s life is at risk. Now that Roe v. Wade has been overturned, the film has a bit of a dystopian feel, as it would be immensely more difficult for Natalie to get an abortion today if she had decided to have one. Ultimately, she decides to keep the baby, telling her friend Cara “...it feels like this is something that I have to do. Like this is what was supposed to happen.”

Reinhart, who plays Natalie, is also one of the film’s executive producers. She is outspokenly feminist and prochoice, explaining that her shared vision with director Kahiu was to “make sure [their] film is a champion for women’s choices” (Variety). She goes on to say that “this isn’t an abortion story movie, but it is a movie about a woman who had the opportunity to make a choice” (Variety), affirming that this decision should be personal–and out of the government’s hands. The script, according to Reinhart, was written two years ago; therefore, the writers could not have possibly predicted this postRoe era emerging during the summer of the movie’s premiere. There has always been, however, a threat to women’s reproductive health rights, especially in states that tend to uphold pro-life policy such as Texas. Now, knowing the fate of the recent Roe v. Wade decision, it is almost impossible not to perceive Look Both Ways through a political lens. Despite the thought, care, and feminist flare the creative team had worked to establish with this film, critics have been quick to judge their choices. Some have focused on the marketing of the film, which has been described as a rom-com, a dramedy, and a piece of social-political commentary. Rodlyn-mae Banting, in her article “Netflix’s Look Both Ways Isn’t the Feminist Movie It Wanted To Be,” asserts that the film fails to pick a ‘lane,’ asking “So… which one is it? Is Look Both Ways just a simple feel good romcom or is it a commentary on the importance of choice?” (Portside). But why does it have to be just one or the other? Must the categories of rom-com, dramedy, and political commentary be mutually exclusive? I would push back against this notion and argue, on the contrary, that these genres, with all of their staples and predictable patterns, are even more powerful when used as a tool to express a deeper message–we’ve seen it before in films like Moxie , Hidden Figures , and Miss Congeniality . Banting continues by saying, “there’s a clear bias about Natalie’s life in LA being the preferable one, and a handful of tired sexist tropes are strengthened along the way” (Portside). This may be an unfair evaluation, as Banting’s definition of feminism appears to leave out the intrinsically feminist decision to not only choose motherhood–which is a decision included in the ‘choice’ aspect of pro-choice–but also to pursue a career while raising a child as Natalie does while raising her daughter, Rosie. The film also strategically focuses on her facing the challenges of each parallel universe, specifically parenting and beginning a career, rendering her ro - mantic endeavors with men secondary to her personal ambitions. They exist solely as a B-story. Highlighting Natalie’s autonomy in love and her career, all within the context of being a mother, seems pretty feminist to me.

In an interview with Variety, Reinhart discusses her process in selecting Kahiu to direct the project. She explains, “Because I myself am not a mother, we wanted to make sure our filmmaker would be a working director also balancing motherhood” (Variety). Like Natalie, Kahiu is a working mother. Her goal was to provide a story that “tells any young woman that regardless of which way your life goes, if you truly follow your heart, you’ll be good. You’re making the right decision for yourself” (Variety). Kahiu was born and raised in Kenya, a country where abortion is illegal unless emergency treatment is needed, or the life or health of the mother is in danger (Kenya Center for Reproductive Rights). Given that her mother was one of the first female pediatricians in her hometown and her aunt was an actress (Vogue Italia), it’s easy to see where Kahiu’s particular artistic and feminist drive comes from, and how they are translated into the film. Her background provides a unique perspective on motherhood where abortions are not readily accessible, which evidently influenced the direction of Natalie’s character in Look Both Ways . Though an abortion might have been accessible to Natalie if she had the means, Kahiu’s direction translates clearly onscreen, as we see the pressures and mental health struggles she faces as a young mother during pregnancy and in the first few years following her daughter’s birth.

I wonder what a third storyline, split with another parallel universe in which Natalie decides to have an abortion, might have looked like if it were added to the film. In line with the creative team’s wish to convey that there is no right or wrong path, I think it would be important to show a non-judgemental and shame-free process in which she is provided with support and resources. Perhaps this version of the story would lead her down a different path in her animation career and love life. Driven by the idea of using the film as a tool for political change, the audience could be exposed to what dangers Natalie or her child could have dealt with had she not been able to have the abortion. But even without this hypothetical third parallel universe, the film certainly does raise questions about what contemporary feminism can look like, especially in this post-Roe era, while celebrating women in leadership positions in and outside of the story–a small victory and an important step in the fight for a more just, inclusive film industry. ww

“Abortion in Texas.” ACLU of Texas , 28 Sept. 2022.

Banting, Rodlyn-mae. “Netflix’s ‘Look Both Ways’ Isn’t the Feminist Movie It Wanted to Be.” Portside , 23 Aug. 2022.

Frigerio, Barbara. “Wanuri Kahiu.” Vogue Italia , 16 June 2010.

“Kenya’s Abortion Provisions.” Center for Reproductive Rights .

Shafer, Ellise. “Lili Reinhart on Her First Netflix Film ‘Look Both Ways,’ Playing a Pregnant Woman and ‘Riverdale’ Ending.” Variety , 17 Aug. 2022.

Shafer, Ellise. “‘Rafiki’ Director Wanuri Kahiu Talks Making Her Hollywood Debut with Netflix’s Lili Reinhart Dramedy ‘Look Both Ways’.” Variety , 15 Aug. 2022.

SiriusXM. “Lili Reinhart on Roe v. Wade and proChoice Message of ‘Look Both Ways’.” YouTube , 22 Aug. 2022.