Incest Rape Scene

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‘The Tale’ depicts a grown woman (Laura Dern) working through the realization that she was sexually abused at age 13, graphically depicting those horrifying sexual-assault scenes.
Updated Jan. 20, 2018 7:08PM ET / Published Jan. 20, 2018 7:00PM ET 
In many respects, The Tale has been in the making for the last 35 years. But its Sundance Film Festival premiere Saturday afternoon—the first of this year’s festival to receive a standing ovation that we witnessed—is so timely it could very well have been called: #MeToo, The Movie.
The Tale is a memoir film in which writer-director Jennifer Fox confronts the sexual abuse she suffered when she was a 13-year-old girl, having spent the next three-and-a-half decades of her life convincing herself that she was engaged in a “special” relationship with a 40-year-old man, facilitated by a woman she trusted.
Both were people in her life she loved: “Mrs. G” (names were changed from Fox’s own life) was her equestrian trainer, and “Bill” was her running coach. Thirteen-year-old Jennifer is intoxicated by the regal, beautiful Mrs. G, and trusts Bill because of it. When Bill starts to coax Jennifer into a sexual relationship, she convinces herself that they’re in love. But she was just a girl. It was child rape.
Immediately following the post-screening Q&A, in which stars Ellen Burstyn and Jason Ritter broke down in tears talking about the movie, it became clear that this is the film everyone at Sundance will be talking about.
Its resonance—a woman realizing that what she had thought was a consensual sexual relationship was actually child rape—is one thing. That it shows, with purposeful unflinching detail, Jennifer’s rape at age 13 is another. (We witnessed multiple people walk out after this.) But that it doesn’t direct you how to feel about it, or moralize, or redeem, or reassure is its greatest power.
The Tale is relentlessly uncomfortable, and sometimes even aggravating. It wades into the murky waters of a complicated debate currently consuming culture, but doesn’t seek to satisfy or conclude it—which can be infuriating but is also necessary. It lacerates right through that conversation, letting the full range of opinions spill out. Yet it doesn’t seek to stitch it back up again and heal. Because that’s not it’s job.
“Eventually she pieces together an explicit, clear-eyed recollection of the relationship with Bill, and we watch it play out on screen. It’s sickening.”
But The Tale isn’t a linear narrative about a child who was raped. It’s an adult woman’s journey to the horrifying realization that her innocence was preyed on; that she was abused in a way that impacted the rest of her life. It’s her struggle through frustrating notes of denial, rationalization, misremembrance, and anger as she tries to piece together what really happened to her—not what her memory of it was—and why. How she feels about it now is almost an afterthought, until, at a major climax, it isn’t.
Throughout the film, Fox plays with form, storytelling structure, and the truth in jarring ways here—at one point Laura Dern, who plays Jennifer as an adult, is actually in conversation with Isabelle Nelisse, who plays her at age 13—to illustrate the myriad ways in which a person needs to communicate, with others and themselves, past and present, to reckon fully with an event like this.
When we meet Dern’s Jennifer, her mother (Burstyn) is leaving her a litany of emotionally charged voicemails, having just discovered an essay Jennifer wrote when she was 13 titled “The Tale,” which discussed the loving relationship she had with two adults: Bill (Jason Ritter) and Mrs. G (Elizabeth Debicki.) Her mother is beside herself. Suspicions she had 35 years before were true: these adults had taken advantage of her daughter.
“This is why I didn’t tell you,” Jennifer says, dismissing her mother’s concerns. “Can’t I just sit with my own memories?” she pleads, preferring to remember the relationship fondly instead relitigate it as assault. Nearly every line of dialogue hits you like a cannonball, its relevance to the stories and confessions that have been chronicled in the #MeToo movement these last months uncanny. “No,” her mother says. “I want you to nail them.”
She starts to visit people she hadn’t seen in decades, attempting to get a more detailed picture of that time that the years have blurred—part of her desperate search for a reason this happened to her. Or even to answer if anything happened to her.
“You were raped,” she’s told multiple times. “It’s complicated,” she instinctively retorts. She rages at the word “victim,” an indictment of the inherent lack of sensitivity in imposing a victim narrative on anyone who comes forward with a traumatizing story.
Eventually she pieces together an explicit, clear-eyed recollection of the relationship with Bill, and we watch it play out on screen. It’s sickening.
Bill baits her with lines like, “You’re not afraid of life, right, Jenny? You’re not afraid of living?” He and Mrs. G flatter her by telling her that she’s special, that they think of her as an equal, that they think they can trust her with secrets. Then we start to see the rape happen.
Would the film be as powerful if the acts were implied, instead of shown to wincing eyes on screen? Perhaps. But arguably, too, the impact is in bearing witness to the things Bill says and does and their brutal reality.
It starts with Bill getting Jenny to cuddle with him under a blanket. He says she deserves better than silly young boys; that he wants to “save” her from them. He phrases things in a way to make her think it’s her idea, like to take her top off, giving her the false comfort of an agency she doesn’t have.
We see them make out and it is grotesque. We see him, over multiple scenes that take place over a series of weeks, attempt to penetrate her. “We have to keep stretching you open, slowly,” he says. And then again: “No young boy would do this for you.” We see her give him a blowjob when it doesn’t “fit.” Eventually it happens, the camera switching between her face and his as it does.
The film ends with a disclaimer that the sex scenes were shot using an adult body double. Nelisse, who was 11 at the time of filming, only shot the dialogue parts of the scene, which are graphic in their own right. Fox would coach her on how to react properly to the pain of losing one’s virginity: ”Act like you’ve been stung by a bee.”
It would be impossible to list the myriad tenets of the conversation surrounding abuse and victimhood that the film explores. Should there be guilt or shame? Is she emotionally scarred? We wouldn’t purport to answer any of those questions, and maybe the film doesn’t intend to either. And that’s the prickly part of it, the thing that will keep us and anyone who sees it itching long after it ends.
While watching it, you’re not exactly sure what Jennifer wants the outcome of this whole journey to be, and you’re especially not sure what you want it to be either. What are you rooting for, if anything at all? It all builds up to a confrontation between Jennifer and Bill. Is it satisfying? Could it possibly be?
Casting Jason Ritter as Bill was a crucial decision. His image, based on the characters he’s played in Parenthood, Girls, Kevin (Probably) Saves the World, is that of the consummate nice guy—the adorable, safe, all-around “good” guy. “The whole idea was to take out of the closet the idea that perpetrators aren’t monsters that we can pick out,” Fox said after the film. Mission accomplished.
There was an air of speechlessness as the standing ovation died down. How does someone talk about this film? What do we even say? It’s something that Burstyn herself acknowledged, before beginning the dialogue in an impassioned, immediate way: “The exploitation of innocence is a deep, criminal crime, and it’s time now, right now, in this moment in our history, to change it.”
But she wasn’t done. “And I want to thank Donald Trump for that disgusting tape that he made that we all heard that was the final straw that broke the camel’s back,” she said to rousing applause. “And we can now at last deal with this problem that has gone on for centuries all over the world. This film is giving voice to it.”
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Michael Spavor was the life of the party, always greeting me like an old friend. Now, he’s a pawn in a dangerous diplomatic game.
Updated Aug. 23, 2021 1:03PM ET / Published Aug. 23, 2021 3:52AM ET 
Michael Spavor, the spirited Canadian who twice finessed visits of Chicago Bulls legend Dennis Rodman to Pyongyang—including for a birthday bash with leader Kim Jong Un—was sentenced to 11 years in a Chinese prison last week. The crime for which Spavor was found guilty, after having been held virtually incommunicado since December 2018, was to have spilled state secrets, including pictures, to a former Canadian diplomat who’s also been jailed all this time.
Spavor’s conviction and sentencing marks the disastrous downfall of an entrepreneur with close ties to North Korea. As the founder and operator of the “non-profit” Paektu Cultural Exchange in Dandong, the bustling Chinese city across the Yalu River from the decrepit North Korean city of Sinuiju, he specialized in tours to China promoting a North Korean agenda of cultural and economic enrichment. It was in Dandong that the court, fed what Chinese prosecutors viewed as “evidence,” found him guilty as charged while the other Canadian, Michael Kovrig, awaits his verdict and sentencing.
Having gotten to know Spavor in email communications and meetings during his visits to Seoul, I enjoyed hearing him boast about his professional exploits. In one evening at the Seoul Foreign Correspondents’ Club, he was the life of the party, embracing anyone within arm’s reach, raising his glass in toasts, laughing and joking about his role as a tour operator with one specialty: North Korea. However much Spavor had imbibed, however, he was careful not to say anything that might dim the magic of his rapport with the North Koreans, who obviously saw him as a useful intermediary.
It would not, however, take much for the Chinese legal system to imprison just about anyone who got on the wrong side of authorities. His trial, of course, was conducted behind closed doors, with no one there to record what was said and no way he could call his own witnesses or have a lawyer defending him, much less questioning the system under which he was held without bail and virtually no visitors other than occasional brief meetings with Canadian consular officers—before COVID-19 provided a pretext for cutting off contact.
Seemingly outgoing and always super-friendly, Spavor, now 45, was glad to chat and clapped shoulders with just about anyone he met. Speaking of his accomplishments, however, he had a way of grinning and clamming up when asked what he really knew of North Korea’s atrocious human rights record or the innermost secrets of the Kim dynasty. I got to know him over the course of attempts to gain access to North Korea.
For all his high spirits and camaraderie, he was smart enough to tell me, in person and in emails, that he just was not able to get me a visa to North Korea since I was a known quantity as an American and a journalist. I did manage to visit North Korea a number of times, twice for visits of more than two weeks under other auspices, claiming to be a teacher or scholar.
On one of those visits, I actually ran into him with another tour group, as always putting on an old friends act that belied the dedication with which he arranged contacts between North Korea and eager foreign visitors.
“BACK IN SEOUL!” began one message that he sent advertising a visit to South Korea planned for early December 2018. His merry tone, advising contacts he’d be coming down from Dandong “for a few days for new consulting work,” leaves no doubt he hadn’t a clue what was coming when he got back to China. It wasn’t until he failed to show up that we got the news of his arrest.
Interspersed with smiling emoji, he rambled on in his usual hyper-convivial style: “Yeah! And a few meetings,” said his email, which I preserved as a colorful reference to one of the more engaging intermediaries between curious foreigners and a system that remains closed to all but superficial look-sees.
“I’ll be busy but if you want to have a few Makgeollis (Korean rice wine) or beers with some of my friends come out on Tues and/or Fri,” he amiably invited everyone. “All are welcome, feel free to tag along and bring friends.”
Spavor was at his effervescent party-going best when he joined Dennis Rodman on the occasion of Kim Jong Un’s 30th birthday in Pyongyang in 2014. Spavor, whose travel agency handled details of the visit, holds the distinction of being one of the few westerners to have met Kim.
The January 2014 trip is most memorable for Rodman singing “Happy Birthday” to the North Korean leader, who’d inherited his post barely more than two years earlier after the death of his long-ruling father, Kim Jong Il, in December 2011. Reuters quotes Spavor as describing the goings-on as “a blast” in which “we hung out for three days,” surely “the most amazing experience I’ve had in my life.”
Photographs show Rodman cavorting with Kim at a basketball game and Spavor sipping drinks with the North Korean leader on a yacht off the east coast port of Wonsan, near one of Kim’s palatial residences.
All of which, according to a veteran diplomatic source who requested anonymity, may have contributed to Spavor’s undoing. “What he was apparently doing with NK was always extremely risky,” the source told me in an email.
Sure, he went on, “There must have been tons of intelligence officers from many states’ services all over him for several years at least.” But the Chinese, he explained, “would of course have been deeply suspicious of him and of those they assumed he was working for. And even if they weren’t sure he was working for a service, how easy they would have regarded it to tar him with that when they needed someone to hold hostage against Canada.”
As for why the Chinese would go after Spavor when he was such a friend of North Korea, he said, “the Chinese look down on and even hate the North Koreans,” despite their longstanding alliance with North Korea going back to the Korean War. Moreover, they may have assumed he “wasn’t really a friend of NK but was working for others.”
Spavor may still appeal his sentence, but both he and Kovrig are widely viewed as pawns in a much larger power game.
They were both picked up almost immediately after the Vancouver 2018 arrest of Meng Wanzhou, Chinese tech giant Huawei’s chief financial officer, on an American request for her extradition from Canada. Quasi-free on $7.5 billion bail, she goes nowhere without an escort, has to wear an ankle bracelet and must return to her luxury digs at night. Hearings in Vancouver have just ended, and the court is expected to decide in two months whether to send her to the U.S. for trial on charges of fraudulently violating sanctions banning trade with Iran in statements to HSBC Holdings.
While U.S. relations with China deteriorate amid military and trade disputes, the case is an explosive international issue considering Huawei’s global reach as a technological giant. Spavor and Kovrig can only hope the court rules in favor of Meng and Huawei, which has vigorously denounced her arrest as politically motivated.
As for the Chinese case against Spavor, the Canadian ambassador to China, Dominic Barton, said it “lacked both fairness and transparency.” Some of the so-called evidence against “the two Michaels,” as they are sometimes called in Canada, revolves around photographs Spavor was said to have taken of military aircraft. Barton, according to NK News, a website in Seoul that tracks North Korea, said both Spavor and Kovrig “are being detained arbitrarily” and vowed to “continue to call for their immediate release.” The claim of photographing military aircraft is suspect since Chinese military planes are often seen at or near commercial airports, and are easily photographed by anyone snapping souvenir shots.
Spavor, meanwhile, remains irrepressibly upbeat, at least to judge from a comment on the case as transmitted via the Canadian embassy in Beijing. “I am in good spirits,” NK News quoted him as saying. “I want to get home.”

I'm not a sicko, I think when a filmmaker can handle rape really well it's powerful. Some of these I included because of the actual rape scenes, it's sort of all over the board. Also I didn't include some really obvious and famous ones because how many times do you need to be told that Clockwork Orange is a great movie with rape?
Not Rated | 97 min | Crime, Drama, Mystery
This is the crodmaggon of all rape movies. It's incredibly manipulative and well done.
From what I can remember there was a rape scene, correct me if I'm wrong.
NC-17 | 95 min | Comedy, Crime, Drama
R | 106 min | Crime, Drama, Thriller
Clive Owen was really good in this film. It's like To Catch a Predator: The Movie. Well done, though.
The pioneer for all rape and revenge movies.
If you bite someones cheek off you get a spot in my list.
R | 109 min | Adventure, Drama, Thriller
Please read the book the rape scene is not as campy. But still, squeal like a pig will live in movie infamy.
R | 125 min | Biography, Crime, Drama
Not Rated | 91 min | Comedy, Crime, Horror
There is no rape like rape by lobsters...
R | 118 min | Biography, Crime, Drama
The rape scene sucks but the movie's decent.

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Incest Rape Scene