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Edilma Howard
Despite all the books and guides out there, no one really knows what quite to expect when you're expecting. Don't worry - we've got you covered with this curated list of the best pregnancy movies on Netflix. Pregnancy is certainly a wild ride, and those who experience it are undoubtedly strong people. You know who really have it the hardest though? Pregnant women in movies. These characters have to go through the ups and downs of pregnancy while dealing with all sorts of external issues: disapproving parents, violently jealous exes, and in some cases, an actual apocalypse. If you're wondering where to watch movies about pregnancy, look no further than Netflix.
Whether you want a snarky comedy or a heart-rending tale of love and loss, there are plenty of pregnancy films on Netflix that fit the bill. Whether you happen to be pregnant or know someone who is, these movies can offer a source of humor, entertainment, and even comfort in knowing you're not alone. While some of these movies take place under pretty drastic circumstances (looking at you, How It Ends), you'll find plenty of moments to relate to in these films.
If you like Hallmark Christmas movies but would prefer to watch them on Netflix, then this is the movie for you. A Christmas Prince: The Royal Baby is the third movie in the Christmas Prince franchise. While Queen Amber (Rose McIver) is indeed pregnant, that's not all that's happening. Rather, royals from a faraway kingdom travel to Aldovia to renew a sacred treaty. But things go awry when the treaty mysteriously disappears, placing the kingdom in jeopardy. Hopefully they can solve it all before the baby comes!
Get your tissues ready for this one. Blue Valentine may be a love story, but it's a reminder that not every romance ends in sunshine and roses. Ryan Gosling and Michelle Williams star opposite each other as Dean and Cindy, two young lovers who meet by chance while visiting a nursing home. As their relationship grows more intense, Cindy finally reveals to Dean her big secret: She's pregnant with her ex boyfriend's baby. She plans on an abortion, but opts out last minute. Dean tells her he wants to raise the child together, and they get married shortly after. Blue Valentine is full of euphoric highs and soul-crushing lows, highlighting the struggles of parenthood before each participant is fully ready.
This fascinating documentary delves into the controversial practice of Caesarean deliveries in Brazil. Also known as a C-section, this birthing method has become increasingly popular in the United States. Hear from a variety of mothers and medical professionals as they share their experiences, and watch your perspective be blown wide open. This is the first in a series of documentaries.
Motherhood isn't always easy, but at least these women don't have to go through it alone. In Baby Mamas, four coworkers all bond over the joys and struggles of pregnancy. They're all at different stages, and their lives are made more complicated by the men they share it with. But in the end, the support they receive from each other is worth the ups and downs. Not to be confused with the 2008 comedy Baby Mama starring Amy Poehler and Tina Fey.
This Indian mystery thriller stars Vidya Balan as Vidya Bagchi, a pregnant woman who is quite awesome. After her husband goes missing, she has to search for him in Kolkata during the festival of Durja Puja. That's not easy to do even when you're not expecting a baby. Kahaani was shot using a guerrilla-style technique, placing you right in the middle of the chaos. It's fast-paced and full of excitement, but it also touches upon themes of feminism and motherhood in Indian society. This is truly a movie you have to see for yourself.
I once knew a TV interviewer who got an interview with Mother Teresa and never stopped talking about it. We will call my friend N. After listening closely, I realized that N. thought she'd given Mother Teresa a big break: After all, not everybody gets to appear on TV with N.
Everything else in her life is either what happens before TV, or after TV. She lives in the small town of Little Hope, N. H., but in her mind, she lives in the hyperspace of supermarket tabloids, People magazine and instant celebrity.
Even in Little Hope, Suzanne is not a big fish. She is the weather forecaster for a local cable channel, although she is always dreaming up ways to expand her role and firmly intends to be the next Barbara Walters. Why she marries Larry (Matt Dillon) is anyone's guess: He's a nice enough guy from a family who owns the local Italian eatery, but for a star of the future like Suzanne, he's too commonplace. At least when she meets him he has a certain animal appeal, but soon after their marriage, he starts sacking out on the couch and developing love handles.
Suzanne is played by Kidman as a woman who is always onstage, and seems to be reading her dialogue from a TelePrompTer that scrolls up the insides of her eyeballs. The dialogue has been written by Buck Henry, who has probably met more than a few performers just like this, and it is priceless. She doesn't want to be pregnant, she tells her mother-in-law, because "a woman in my field with a baby has two strikes against her. She can't cover a royal wedding, or a revolution in South America, and pregnancy gives her blubber, and boobs out to here. It's gross." (I'm surprised Suzanne hasn't picked up on the cachet for pregnancy on TV.) It becomes clear to Suzanne that her husband must go. He's standing in the way of her future, an insight she has on her honeymoon while cheating on him with a TV executive who might be able to help her career. To aid in disposing of her husband, she enlists three airheads from the local high school: Jimmy (Joaquin Phoenix), Russell (Casey Affleck) and Lydia (Alison Folland).
They are dazzled and flattered to be taken seriously by this glamorous cable TV personality, and soon she's necking with Jimmy and persuading them to help her commit murder. (The way she lets them down afterward has a certain cheerful brutality.) All of this could be done broadly as farce, but director Gus Van Sant uses Henry's wicked screenplay as a blueprint for quieter, crueler comedy (the movie is a spectacular comeback after his appalling "Even Cowgirls Get the Blues"). "To Die For" is the kind of movie that's merciless with its characters, and Kidman is superb at making Suzanne into someone who is not only stupid, vain and egomaniacal (we've seen that before) but also vulnerably human. She represents, on a large scale, feelings we have all had in smaller and sneakier ways. She simply lacks skill in concealing them.
The film is filled with perfect character studies. Dillon, the former teen idol whose acting has always been underrated, here turns in a sly comic performance as a man dazzled by beauty but seduced by comfort. Illeana Douglas is Janice, Suzanne's ice-skating sister-in-law, who spots her as a phony and makes life uncomfortable by calling her on it. Dan Hedaya plays the father-in-law who rules his Italian family with an ebullient hand. And Buck Henry plays a high school teacher with a vast repertory of colorful verbal threats for his students.
Finally, though, the movie is about Suzanne, and Nicole Kidman's work here is inspired. Her clothes, her makeup, her hair, her speech, her manner, even the way she carries herself (as if aware of the eyes of millions) are all brought to a perfect pitch: Her Suzanne is so utterly absorbed in being herself that there is an eerie conviction, even in the comedy. She plays Suzanne as the kind of woman who pities us - because we aren't her, and you know what? We never will be.
The film is set in a dystopic future where a totalitarian government has taken control of Spain. The government responds to a lack of vital resources by systematically killing civilians. Women, children, and the aged are particularly targeted. The film begins with protagonists Mia, who is pregnant, and her husband Nico trying to evade government forces as they round up targeted citizens. The couple paid to be smuggled out of the country, but their smugglers are motivated by remuneration, not empathetic concern. They forcefully herd their clients through perilous checkpoints, prodding them as though like they were cattle in unsympathetic efforts to evade meat packers.
Mia, who is nearing the end of her pregnancy, and her affectionate husband, Nico, make it to their desired destination: a shipping container bound for another country out of the grips of the dictatorship. Nico celebrates their progress by bestowing a candy bar upon his beloved. Something to save for later. Circumstances quickly change for the worse when unauthorized passengers overrun the container. Nico is swept up among those violently forced out by the smugglers and forced to board a different shipping container, leaving the couple distressingly separated. From there on out, Mia is without Nico's loving and optimistic support. She goes on to face one harrowing challenge after another, relying on nothing but her own ingenuity and instinct for survival.
The only other fictitious cinematic representation of childbirth that I'm aware of approaching this one is featured in A Quiet Place (2018). In that film, the protagonist, Evelyn, played by Emily Blunt, gives birth unassisted, alone, and in complete silence as lethal alien monsters prowl nearby. It's a lengthy scene that is equal parts terrifying and breathtakingly badass.
We are instead invited to observe Mia in empathetic awe as she delivers her own creation in what is probably the most dramatic waterbirths in movie history. Her birth experience is not pleasant or easy. But it is an accomplishment of perseverance and transcendence in the sense of literally creating not just something but someone new beyond the self.
One option available to us for this self-assertion is creativity, be it through the literal creation of life unique to women or the creativity of participating in agriculture or human cultural works. Fromm wrote,
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