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Vera Drake is a selfless woman who is completely devoted to, and loved by, her working class family. She spends her days doting on them and caring for her sick neighbor and elderly mother. However, she also secretly visits women and helps them induce miscarriages for unwanted pregnancies. While the practice itself was illegal in 1950s England, Vera sees herself as simply helping women in need, and always does so with a smile and kind words of encouragement. When the authorities finally find her out, Vera's world and family life rapidly unravel.
Vera Drake woont met haar man Stan en hun volwassen kinderen Sid en Ethel in het Londen van 1950. Ze zijn niet rijk, maar wel gelukkig en een hecht gezin. Vera is werkster in verschillende huizen, Stan is monteur in de garage van zijn broer. Sid werkt als kleermaker en Ethel werkt in een fabriek voor gloeilampen. Maar de goede Vera heeft een geheim dat ze met niemand uit haar naaste omgeving deelt. Ze helpt, zonder daarvoor betaling te ontvangen, jonge vrouwen bij het beëindigen van zwangerschappen. Als een van die meisjes na een abortus ziek wordt en in het ziekenhuis terechtkomt, stelt de politie een onderzoek ...
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in. Het onderzoek brengt hen bij Vera.
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Vera Drake News Articles
The ever-provocative British director Mike Leigh (Secrets and Lies, Vera Drake , Happy-Go-Lucky , Another Year ) showed that he has not dampened his sometimes incendiary sentiments as he appeared with the other members of the Berlin Film Festival’s jury at a news conference today (Thursday). Leigh, who is this year’s jury president, remarked at first that the members have a duty to keep an “open mind … about the films that we are about to savor and enjoy here.” A few minutes later, however, he maintained that the panel could not help but be affected by external influences, including the fact that the festival “takes place in the middle of winter” — it has been snowing in Berlin — something, he said, that “informs the spirit.” Warming to the subject, Leigh went on to say that “it would be impossible for any of us on this jury to make a serious consideration of any of the films without looking at them each in its own way” and to judge them as much on their “political context as on their cinematic context.&
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