Clermont-Ferrand ISFF Review: “Ovary Acting” (2025)
Clermont-Ferrand International Short Film Festival
International Competition
It is perhaps not without a certain amount of irony that Ovary Acting is exactly the kind of film – pointed use of the ‘F’ word aside – which you could stick the children in front of while you grab some time to yourself and try and slip into something more comfortable (depending on your children, this something you could slip into could a be nice pair of comfy pyjamas, a glass of wine or ‘a coma’). This is because the animation – now screening in Clermont-Ferrand’s International Competition after bowing at Tribeca and Annecy last year – addresses the thorny issue of the constant pressure on women to have children.
In her mid 30s, Eva attends her sister’s baby shower and starts to fend off the usual questions about why she hasn’t had a little bundle of joy yet. As the questions become too much to bear, Eva soon finds herself in a situation where she is followed around by Ovy, her own reproductive organs, who consistently fights against Eva about her decision not to have children. Soon, the two are having a heated discussion over the pros and cons of bringing another life into the world.
This bright and breezy stop-motion animation is often a humorous delight, with the central conceit itself wonderfully brazen in its insouciance. Not many films would get away with a floating set of female reproductive organs – and a cute set at that – but this one does (and before there are cries of ‘sexism’ from the gallery, you’ll be pleased to know that the male counterparts are also given an airing.) It has a confident, infectious tone, and the musical number that becomes the film’s central argument is as slick as its Hollywood counterparts.
Yet, for all of Ovary Acting‘s playfulness, it still manages to make its core message thought-provoking whilst avoiding haranguing overtones. Crucially, the film never indulges in a binary ‘having children = bad, not having children = good’ or, indeed, vice versa. It recognises that the decision should not be foisted upon individuals; instead, it should be left to them after they have reflected on their desires and wishes.
Those who have already made the decision – the writing of this review was interrupted on several occasions so it’s author could be hit on the head with pillows by a cycle of three children who came to defeat the ‘tickle monster’ – will still feel a great deal of empathy while those of the male persuasion, amongst whom I count myself, will breathe a sigh of relief that they’ve never had people banging on about their ‘child-bearing hips’ as they approach their mid 30s.
Year: 2025
Country: Norway, UK, Sweden
Runtime: 12 mins
Producer: Kjersti Greger, Michelle Brøndum, Johan Edström
Editor: Lesley Posso
Screenwriter: Laura Jayne Tunbridge
Director of Photography: Jøran Wærdahl
Production Designer: Svein Erik Okstad
Sound: Miles Sullivan, André Laos
Composer: Joseph Stevenson, Alastair McNamara
Cast Synnøve Karlsen, Sofia Oxenham, Katy Secombe
Animators: Ida Melum, Rich Farris
Production Companies: Klipp og Lim, Jante Films, Apparat Filmproduktion AB
Sales: Kurzfilmagentur Hamburg
