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All of Us explores its Bronx locales like a case study, touching on national biases with terrific rhetorical efficiency. If not for its far-reaching implications for (yes) all of us, the film might be re-titled 3 Women (the Altman reference might not be entirely inappropriate, either). Abt’s camera is embedded with Ethiopian-American Mehret (whose drive and charisma keep All of Us interested even when the director seems stalled between two ideas) and makes its discoveries through her self-reflexive musings and the daily hardships of two patients, Tara and Chevelle.
Abt brushes aside the massive class differences between the three women to uncover their fundamental similarities through point-counterpoint editing and (sometimes uncomfortably) prying questions. Only Mehret is a college grad and HIV-negative, but all three suffer various repercussions of sexual, racial and economic inequity.
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With domestic measures consisting literally of ABCs (the Bush Administration’s AIDS prevention doctrine: Abstinence, Being faithful, using Condoms), the battle against HIV seems stalled on the home front. The home, in fact, is where All of Us locates the root of most of its problems. With histories of childhood and sexual abuse, most HIV-positive women find their health at the mercy of African American men’s fractured psyches (absent fathers, incarcerated relatives, abusive partners, etc.).
Mehret’s positing an alternative DEF (Demystifying, Empowerment/Equality, moving Forward) preventive shorthand offers inklings of a solution that should be applied more universally. If the HIV spread that All of Us addresses is being accelerated by culture-wide problems, its solutions for the one can certainly do wonders for the others.
A similar version of this review appears on The L Magazine's website, and can be read here.
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