Gosnell: Film about "house of horrors" abortionist breaks into box office top 10
15 October 2018
"Frame by frame, Gosnell tears apart everything America has told itself and the world about abortion."
Exposing a monster
A new feature film about notorious abortionist Kermit Gosnell is number ten in the US box office after its opening weekend, despite being largely ignored by the mainstream media.
Gosnell: The Trial of America’s Biggest Serial Killer was released on Friday 12 October, and is only appearing 673 theatres across the states, meaning it is outperforming films that have been released in thousands of cinemas.
America's biggest serial killer
The film is a dramatisation of Irish husband-and-wife team Ann McElhinney and Phelim McAleer’s (who also wrote and produced the film) best-selling investigative book, Gosnell: The Untold Story of America’s Most Prolific Serial Killer.
Dr. Kermit Gosnell was convicted in May of 2013 on three counts of murder for the death of three infant children and involuntary manslaughter of Karnamaya Mongar. However, it is believed that he killed thousands of viable babies in illegal late term abortions, snipping their necks with scissors. When his clinic was raided in 2010, investigators found filthy, unsanitary conditions, and fetal remains stored throughout, including jars containing severed feet. He is currently serving life in prison with no possibility for parole.
A story that needed to be told
The film tells the story of the investigation and trial of Dr. Kermit Gosnell - his 30 year killing spree and the political and media establishment that tried to cover it up. The writers went through many difficulties to get to the distribution stage. The money to produce it came from crowdfunding - breaking records by raising $2.3m from almost 30,000 supporters.
Gosnell has received little attention outside conservative media circles. The producers credit "social media, grass roots marketing, alternative and conservative media and word-of-mouth" for its success so far.
The reviews suggest that the film does more than reveal one horrific case of malpractice, and the authorities' reluctance to challenge "abortion rights" in any way. John Waters writes in the Spectator: "Frame by frame, Gosnell tears apart everything America has told itself and the world about abortion."
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