Under the guise of cinematic artistry, the abortion industry loves the applause of abortion propaganda films. And the Sundance film, April, is no exception.   

Some films merely dip their toes into abortion themes, but not April. This award-winning film dives headfirst into the murky waters of abortion.  

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The Sundance Film Festival aptly describes the plot:   

“April tells the story of Nina (la Sukhitashvili), an obstetrician in Eastern Georgia, whose unofficial side job provides women in the village with choices for pregnancy prevention and abortions. Following a complicated childbirth at the hospital, the infant dies, and the father of the infant demands an investigation into Nina’s role as the obstetrician.” 

One might see this as the perfect opportunity to highlight preborn children as victims of abortion due to unsafe and illegal practices. Instead, it shines the light of martyrdom on Nina, as if she’s the real victim of accusations of negligence in medical practices.   

The film doesn’t even pretend these accusations are false. They’re true, alright. In fact, in this overly romanticized abortion film, Nina from the country Georgia is the abortion drug dealer in her community, handing out under-the-counter Chemical Abortion Pills and performing illegal abortions in outlying villages. The father of the dead newborn suspects Nina secretly and intentionally killed his child because she believed the family “didn’t need another mouth to feed.”  

Instead of calling out the evil and twisted themes of April that should shed light on the sinister nature of abortionists, it’s garnered the praise of mainstream media. The Guardian commends this character for holding “justice” in her own hands, slaughtering preborn children.  

“Women’s bodies are at the mercy of men and Nina’s resistance to this is also an agonized and self-tormenting kind of submission,” The Guardian wrote. “It is a deeply unsettling meditation on sexuality and transgression.”   

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The mercy of men? It’s more like preborn children are at the mercy of this fictional butcher, Nina, a mirroring of what aborted preborn children experience every day in America. The abortion industry and its allies deceive women daily, pitting women against men as if they are the evil ones, such as the father in April who wanted true justice for his child. While many evil men abuse, sex traffic, and coerce abortions, many men want to stand up for the rights of children. Women don’t need to fight good men, motherhood, and marriage; they need to combat the abortion industry that aids abusers.   

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But, such is the practice of abortion, supporting people or entities to call evil good and good evil. This gruesome movie was awarded the Special Jury Prize, one of the most prestigious awards in film, at the Venice International Film Festival.  

The film itself is a moral atrocity. Praising evil as “art” and “cinematically haunting” is like putting lipstick on a pig.   

April reflects a nightmare, not a work of artistry – it’s a deliberate effort to normalize the abortion culture in America and around the world. As long as films, musicians, influencers, and the entertainment industry continue promoting the narrative that “abortion is essential and a fundamental right,” society will repeatedly overlook the true value of life and value death instead.  

Now, that is truly haunting.   

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