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We live in a society that uses sex to sell everything from lipstick to laptops. Yet fear and silence around sex and sexuality also permeate our culture. And American taxpayers are paying billions to treat these entirely preventable problems. At a high school for pregnant teens in Los Angeles, young girls are contemplating teen parenthood. The film concludes in Oregon, where the lessons learned in Western Europe are helping to create practical solutions. Real parents and youth, compelling statistics, animation and archival material, all combine to paint an urgent picture of American youth in crisis.
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Still, the way Pablos has chosen to frame his story highlights the overwhelming degree of patriarchal influence even in younger strata of the the society under scrutiny: Whether the film merely reinforces or damningly reflects that gender bias is open to constructive debate, but either way, it effectively arouses hot reserves of anger in its audience. By setting his unhappy story in the border city of Tijuana — as opposed to Tenancingo, widely recognized as the epicenter of the Mexican sex-slave trade — Pablos invites particularly horrified responses of so-near-yet-so-far cultural recognition from adjacent U. Intercourse is never visually depicted in the film, though Pablos employs crisp editing and intimate sound design to evoke the tactility of the act both at its most desolate and most innocent extremes: In one scene, mid-coital moaning soundtracks a montage of alternating closeups of a sex slave and her clients prior to engagement.
The girls could not be more different. Elena is the very epitome of youth and French beauty; her young, slim body is a site of reverence and she longs for the chase of romantic love. Instead she is a woman who has masochistically resisted the painful transition from girlhood. In her 40s, Erika Isabelle Huppert lives at home with her domineering mother, a relationship marked with dysfunctional co-dependence and embattled suffocation.
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