HBO’s new short film, “The Devil Is Busy,” aims to take viewers inside an abortion clinic in Atlanta. From the outset, the title captures a darker reality that runs counter to the film’s intended narrative. At the center of the documentary is Traci, the clinic’s director of operations. The trailer reveals her guiding women past anti-abortion demonstrators. She points to a large cross and a sign that boldly states, “Abortion, the wicked choice.” Upon arrival at the clinic, Traci reassures the women, declaring, “You’re safe now.”
Inside, the film presents clinic staff who speak proudly of their work. They describe their jobs in terms of courage and heroism. One worker reflects on the changes in women’s rights over the years, stating, “I never thought I would have more rights 25 years ago than my daughter does now.” Another expresses the burden of Roe v. Wade’s overturning, noting that telling patients they cannot be seen is the hardest part of her job. Traci, amid the protests outside, sighs, “The Devil is busy out there.” Yet, one might argue that the real busyness lies within the clinic itself, a sanctuary of sorts for terminating pregnancies.
HBO promotes the film as “an unfiltered look inside an Atlanta women’s health clinic, through the eyes of those who protect it.” Directors Geeta Gandbhir and Christalyn Hampton frame these clinic operations as a story of bravery. Yet, one must question what kind of battle they are fighting when the collateral damage includes innocent lives. The clinic staff discusses stress, sacrifice, and rights, but curiously absent is any mention of the children whose lives are ended in the very space they celebrate as a refuge.
The film’s portrayal of abortion as a form of health care obscures the fundamental reality that it involves the termination of a life. It is a stark truth buried beneath euphemisms like “reproductive rights,” suggesting an awareness that the act itself is far from any celebrated medical procedure. Indeed, the notion that the industry operates under a veneer of normalcy is alarming, as is the suggestion that clinic staff view their work as divine service instead of a grim reality.
If the creators had aimed for a more honest representation, a more fitting title might have been “The Devil Is Busy In Here.” The reality within these walls poses uncomfortable questions that the film seems determined to sidestep. Here, amidst a narrative of empowerment and courage, lies a sobering truth: the fight for rights often overlooks the most vulnerable voices—those not yet able to speak. In a world increasingly riddled with moral ambiguity, clarity on such a contentious issue remains as crucial as ever.
"*" indicates required fields
