Ovum

Ovum, from 2015, directed by Cidne Sorrow, is an eccentric, darkly comedic film that delves into the nuances of human identity, desperate desire, and the unyielding courage to pursue one's dreams, even if it leads to potential degradation. It is a glaring examination of the lengths one might be prepared to go to in order to finance what matters most to them—their art.

The riveting film features an enthralling performance by Sonja O'Hara, who plays a struggling off-Broadway actress—the lead character—who brilliantly oscillates between poignant vulnerability and sheer determination, clearly displaying the struggles of the artistic life. O'Hara's character has an obsessive desire to be taken seriously in the competitive and elite world of theatre.

Plagued by repeated employment rejections and unrelenting financial difficulties, she stumbles upon a highly lucrative, though morally ambiguous opportunity—to become an egg donor for an elite fertility clinic. The arduous world of high-end egg donation, rife with peculiar individuals and unconventional experiences, unveils before her. Her encounters range from overly zealous prospective parents, dubious agency staffers in expensive suits, to flippant genetic engineers. It's a journey that blurs the line between comedic absurdity and heart-tugging solemnity.

Hassan Johnson, putting up an impressive display, plays a supporting role as O'Hara's complex, impassive boyfriend. His character is layered and does well in positioning the other characters for significant plot development. He negotiates the dynamics of his relationship with O'Hara's character with a mix of confusion, amusement, and seeming indifference, yet his unique contribution to the film cannot be understated.

Rutanya Alda serves as an additional support with a performance that uplifts the film's underlying dark comedy. As a über-obsessed woman desperate to become a mother, Alda fuels the movie's twisted humor amidst the prevailing intensity.

The film grafts onto its comedic roots, a plethora of moral dilemmas that provoke thought in the viewer. It questions personal integrity, identity selling, and the seesaw ethics of the wildly unregulated world where bodies become commodities for transaction. Ovum provides a critical lens that magnifies the corners of our society where science, emotion, and capitalism intersect with harrowing intensity.

It serves, too, as a commentary on the burdens and expectations subjected upon women. It effectively dialogues on the objectification of females, with their bodies at the disposal of societal demands. It portrays the commodification of women’s bodies in a way that appreciates the unique challenges females face when making choices about their bodies and their rights.

The aura of the film is colored with enigmatic ambience and dramatic tensions, fueled by a robust screenplay and edgy dialogues. Set in the bustling heart of New York, the movie encapsulates the everyday struggles of survival, particularly when pursuing a passion that seemingly chomps away all stability. The screenplay gracefully weaves in nuances that make the characters feel painfully real and relatable.

Ovum is a striking movie that ventures into unexplored territories, juggling the absurd and the deeply real. The experience of watching the movie is unusual, much like the film's plot that revels into the extraordinary world of human fertility, deprivation, and aspiration. The filmmakers' treatment of the subject matter is neither heavy-handed nor frivolous. Instead, it offers a thoughtful and compelling exploration of a subject that remains largely unexplored in popular cinema. On the whole, Ovum serves as an unconventional narrative that blends black comedy, drama, and thought-provoking social commentary. This film is bound to make audiences laugh, sigh, and ponder.