Ellen Rodnianski’s directorial debut, American Baby, is a film of both power and tenderness. It tells a compelling story through the eyes of its lead character, while examining the countless eyes cast upon her, with a mesmerizing and unforgettable performance from Abigail Pniowsky.
The film opens with a poignant image: 15-year-old Oli (Abigail Pniowsky) studies her pregnant belly in the mirror while a news report about the Ukraine-Russia war plays on the radio. It is a striking moment, beautifully captured by cinematographer David Khayznikov. In this scene and many others, the visuals do much of the storytelling, with framing and lighting conveying the isolation and uncertainty Oli experiences throughout the film.
Her mother, Tammy (Janel Koloski), is a Ukrainian immigrant who fled an abusive husband to build a new life in Texas. She has found support within her church community. Oli, meanwhile, is a happy teenager with a best friend, Miriam (Claire Capek), a crush on a boy named Toby (Elisha Henig), and a strong Christian faith.
Everything changes after a party. Bullied by classmates and locked in a garage together, Oli and Toby’s forced isolation leads to a sweet and intimate encounter that leaves Oli pregnant. From there, Rodnianski charts the fallout with compassion and emotional honesty. As Oli struggles to decide what comes next, Texas’ restrictive abortion laws transform an already overwhelming situation into one with even fewer options.
“How Could You Be So Stupid?”
The film unfolds in a nonlinear fashion, shifting between the present and the past to reveal how dramatically Oli’s life has changed. The transformation extends beyond her body to every aspect of her world. Toby is sent away, her friendship begins to unravel, and her phone and laptop are taken from her. She is pulled out of school and pushed away from the church community that once embraced her. As gossip spreads through town, both Oli and Tammy find themselves increasingly isolated. At times, watching this is brutal, but necessary. We see a young girl navigating this weight seemingly alone, burdened with raw uncertainty. She’s got an edge and real grit, but she’s also a messy teenager.
Much of the film centers on Oli’s decision about whether to have the baby, a choice others continually try to take away. Though she is still a child, she is expected to assume adult responsibilities while having little control over the direction of her own future.
“Slut”
At times, I was floored by the star power Pniowsky exudes. She commands every scene, her emotions etched into every glance, hesitation, and subtle movement. There is an undeniable trust between actress and director, with Rodnianski allowing the space to communicate entire emotional arcs without words. More importantly, she never lets Oli become defined by her pregnancy or the decision before her. Through Pniowsky‘s performance, Rodnianski asks us to see Oli as a person, not simply as the decision she has to make.
Some of the dialogue does not land as effectively as it could, and certain narrative choices, particularly the nonlinear structure and Toby’s prolonged absence, occasionally lessen the emotional impact. More time spent with Toby would have been welcome (and worth noting he is another very talented newcomer) especially given the delightfully earnest chemistry he shares with Oli. As fellow outsiders, their brief moments together capture the innocence of youth and the exhilaration of first love.
Even so, this is an incredibly moving and thoughtful film. It speaks volumes in its quietest moments, particularly when Oli walks through town carrying the weight of other people’s judgments or when, through a wave of tears, she returns to the spot where another teen took their life. Rodnianski communicates a great deal about the state of the country, faith, and the pressures placed on both women and immigrants without ever needing to state them outright. She approaches her subject with compassion rather than certainty, allowing difficult questions to exist without offering simple answers.
By refusing tidy conclusions, American Baby lingers long after it ends. Rather than prescribing what is right or wrong, the film asks audiences to consider the weight of a decision that ultimately belongs to Oli and to ask why so many people believe they should make it.
And that is precisely the point.
A woman’s body and her choices belong to her alone.
Conclusion:
American Baby is ultimately about the fragile space between childhood and adulthood, where every choice carries a weight that can shape more than one life. Anchored by Abigail Pniowsky‘s mesmerizing performance and a directorial debut filled with empathy and confidence, Rodnianski has crafted a film that is as thought-provoking as it is emotionally devastating: a remarkable achievement.
