The Invisible Scars of Forced Sterilization Still Haunt Us

The Slovak film “Only Beautiful Things to Look At” has generated significant buzz at the Karlovy Vary Film Festival, and its planned US remake has already sparked a necessary conversation about one of humanity’s darkest secrets: forced sterilization. Director Ivan Ostrochovský’s latest drama explores the painful history of Romani women being subjected to this brutal practice in former Czechoslovakia, but it’s not just a story from the past.

The 1980s setting may seem distant, but Ostrochovský’s film sheds light on an issue that remains alive today. In Slovakia, for instance, Romani women are only now starting to seek justice for forced sterilizations that continued well into the 2000s. The Slovakian government’s reluctance to compensate these women is a painful reminder of how little progress has been made in acknowledging and addressing this dark chapter.

Ostrochovský’s commitment to shedding light on this topic is admirable, but he faces an uphill battle. As he notes, his research in the US revealed that Native American communities are wary of being portrayed as victims once again. This wariness is understandable; after all, who wouldn’t want their story told on their own terms? However, Ostrochovský’s desire to start a dialogue highlights the complexity of this issue.

Forced sterilization is not unique to Eastern Europe or even the 20th century. As Ostrochovský himself points out, “This was happening all around the world.” The numbers are staggering: an estimated 40% of Native American women were subjected to forced sterilization in the US, while the birth rate among Native Americans declined by a whopping 60%. These statistics paint a bleak picture, but they also underscore the need for nuanced storytelling.

Ostrochovský’s approach is refreshingly bold. Rather than relying on melodrama or pathos, he chooses to depict the characters’ dilemmas in a visually creative way. His cinematographer, Juraj Chlpík, has done an excellent job of capturing the characters’ inner struggles through nature-inspired macro shots. This choice serves as a metaphor for the “nice life,” which, as Ostrochovský notes, means different things to different people.

The director’s willingness to tackle this difficult subject with sensitivity is all the more remarkable given his stated goal: avoiding didacticism while still conveying the gravity of the issue. His success in achieving this balance is a testament to his skill as a storyteller.

The US remake of “Only Beautiful Things to Look At” promises to bring this crucial conversation to an even wider audience. As Ostrochovský prepares to adapt the story for American context, he faces a new set of challenges. The question remains: will the US be able to confront its own dark past with the same candor as Slovakia?

Ivan Ostrochovský’s film is more than just a cinematic critique of forced sterilization – it’s a call to action. As we watch these characters grapple with the weight of their actions, we’re reminded that the scars of this practice still linger today. It’s time for us to confront our collective past and acknowledge the invisible wounds inflicted on communities worldwide.

The story of “Only Beautiful Things to Look At” is far from over. As we wait to see how the US remake unfolds, let’s remember that this film is not just a work of art – it’s a spark for change. Will we seize this opportunity to have a much-needed dialogue about forced sterilization, or will we let it fade into history? The world is watching, and it’s up to us to decide what kind of future we want to create.