‘Life After’ Review: An Empathetic and Confrontational Doc About Disabled People’s Right to Be in Control

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The compelling documentary “Life After” blends investigative journalism with a first-person account, drawing power from the contrast between these two styles and uncovering its narrative in the conflict they create. Filmmaker Reid Davenport embarks on a quest to discover what became of Elizabeth Bouvia, a disabled Californian woman who fought for the right to end her own life in 1983. As a filmmaker with personal experience of disability, Davenport creates an emotionally charged, thought-provoking, and above all, challenging movie that delves into the complex issues of euthanasia and disability rights.

Davenport’s pursuit to uncover Bouvia’s fate stems from his belief that she may still be alive, leading a long and fulfilling life. However, the media portrayed her as someone who viewed herself as a burden and her life as insignificant. Davenport aims to rewrite this narrative, providing Bouvia with the respect and value she deserves, and advocating for the dignity and worth of all individuals with disabilities who are overlooked by society and medical institutions.

The investigation broadens to encompass Jerika Bolen, a 14-year-old girl from Wisconsin who was tragically encouraged by her family and community to take her life in 2016. This portion of the film is unsettling as it portrays those close to Bolen rejoicing over her death. The media presents it as a favorable outcome: a community uniting for a grand farewell party for a teenager whose life was considered insignificant due to her disability. However, Davenport’s commentary exposes the grim reality, making viewers confront what appears to be a joyous and festive event.

Currently, Davenport journeys to Canada to encounter Michal Kaliszan. Stricken with Spinal Muscular Atrophy, an affliction that leads to progressive muscle deterioration, he requires continuous assistance. Following the passing of his mother, who was his primary caregiver, he encounters a predicament. The state is unable to provide the same level of care, and despite being gainfully employed as a computer programmer, he cannot afford to fully hire someone to attend to him. Instead, he ponders Medical Aid in Dying (MAID), a Canadian government initiative that permits individuals to end their lives. Davenport underscores that this “choice” was more of a compulsion imposed upon Kaliszan, stemming from a faltering healthcare system and a bureaucratic government that seems to prefer terminating its citizens rather than helping them maintain their dignity through life.

At home in the United States, Davenport discusses the case of Michael Hickson, a quadriplegic who was denied treatment by his physicians. In stark terms, Melissa, Michael’s wife, tells Davenport that her husband was essentially killed. Portraying medical professionals as adversaries to disabled individuals could be contentious, given their traditional role as healers. At times, this healing instinct may manifest as a desire to ‘correct’ patients. However, when they cannot fix an individual, they are quick to dismiss. This can be particularly detrimental for disabled people who are often told by others, primarily medical professionals, that their condition equates to a life of perpetual misery. From Davenport’s perspective, these healers fail to grasp that being disabled is not a death sentence for those who have lived with it their entire lives.

In a straightforward and engaging manner:
“Director Davenport of ‘I Didn’t See You There’ is uniquely qualified to share his personal journey. He isn’t shy about discussing difficult periods, yet also joyous moments and the power of community. Though the movie might seem biased from one perspective, it’s crucial and fitting that way. As Davenport demonstrates, other perspectives have been given ample attention for too long, with those who share such viewpoints continuing to shape laws and societal norms affecting disabled individuals’ lives.

Elizabeth Bouvia’s tale serves as a powerful basis for Davenport’s passionate and compassionate call-to-action, urging individuals with disabilities to lead self-directed lives. In “Life After,” he compassionately and systematically debunks the notion that assisted suicide is an acceptable choice for disabled people; instead, it is a consequence of inadequate healthcare, overstretched medical facilities, and governments’ failure to safeguard their citizens. Davenport aims to enlighten and bravely challenges entrenched ideas as he strives to manage his life autonomously and advocate for his community.

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2025-01-28 06:46