Aka Egg. A woman gives up her rights as an adult when she gets pregnant. When NYC artist Tina (Alysia Reinder) and her layabout husband Wayne (Gbenga Akinnabe) are visited by her eight-months pregnant art school rival Karen (Christina Hendricks), now a trophy wife to property-dealer husband Don (David Alan Bache), the politics of pregnancy are discussed to a disturbing degree. Wayne demonstrates an extraordinary sympathy with Karen’s condition. Tina is doing an exhibit on pregnancy and motherhood (it’s going to be a lifetime’s work) instead of actually bearing a child herself, considering it a worthy topic for an art installation. She and Wayne reveal they are having a child by surrogate Kiki (Anna Camp), a secretary at an agency where Wayne was temping. When the men go out, Tina and Karen have a heart to heart and Tina reveals she has had an abortion following an accidental pregnancy, while Karen reveals she got pregnant on purpose despite Don’s wishes and now she thinks he’s sleeping around. The very lovely and apparently ditsy young Kiki comes back to the loft with the men and while distressed with her married lover running out on her now she’s pregnant, expounds on her philosophy of the stages of a woman’s life during which some hard truths are exchanged … Having a baby the old way is a total fetish at this stage. Risa Mickenberg’s satirical chamberpiece treads a minefield of preconceptions (!), truisms, old wive’s tales (daughters steal your beauty when you’re pregnant), gender politics, jealousy, marriage, money, misunderstandings, the right to choose, sexism and contemporary mores with great wit and empathy in a film which might remind one of Carnage before the kids are actually born. Art appreciates even if I don’t appreciate art. Kiki’s four phases of women – girlhood, boobs, 20s to early 30s running after men and then mother, when nobody wants to look directly at you, is so discomfiting because it carries home the final indisputable truth about gender and loss of desire and elicits very different responses from everyone concerned, changing the dynamics of the group and exploding the future of three of them. Talk about setting it off. These are relationships which are based on socially accepted lies. Sometimes only long-term friends can say such terrible things to one another and sometimes these conversations are life-changing, and not in a good way with a third act shift that totally alters the mood but boasting a happy coda. You’re like this giant beach ball of bliss. You’re like a living monument of sexism. A devastating exposition of male and female behaviour and a smart showcase for the talents of the actors (particularly Hendricks), very well handled by director Marianna Palka. If she’s the mother what are you?