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    Movie Review

    A Secret Love illuminates love and history of aging gay couple

    Alex Bentley
    Apr 29, 2020 | 1:45 pm
    A Secret Love illuminates love and history of aging gay couple
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    When stories are told about the LGBTQ+ segment of society, they rarely focus on older people. Yes, historical films go back in time to illuminate events like the Stonewall Riots and other touchpoints in the fight for gay civil rights, but those films tend to show the people when they were young and vibrant, not as they’re aging.

    A subversion of that norm is just one of the notable things about the new Netflix documentary, A Secret Love. Written and directed by Chris Bolan, the film chronicles the lifelong love of Terry Donahue and Pat Henschel, two women who waited until they were well into their eighties to tell their family the truth about their relationship.

    The bulk of the film takes place in the 2010s, with Terry and Pat struggling to maintain their longtime Chicago home as they age. They're trying to figure out their next step with the help of Terry’s niece, Diana Bolan. They’re also trying to come to an agreement on whether getting married is worthwhile at this stage in their lives.

    Bolan and co-writers Alexa L. Fogel and Brendan Mason blend in photos and videos from throughout Terry and Pat’s life together, including Terry’s stint as a member of the All-American Girls Professional Baseball League. The league, which was famously featured in the 1992 film A League of Their Own, proved a boon for the athletic Terry, and it also put her in the orbit of the equally athletic Pat, who was a hockey player in Canada.

    This is not strictly a film about the prejudice that they encountered throughout their lives, although the undertone of discrimination is present throughout. Bolan makes sure to include details about the efforts Terry and Pat went through to assimilate into “normal” society, including dating men in their twenties and dressing like a woman “should” dress. But the film is mostly a celebration of their devotion to one another, one that appears to have rarely wavered since they found each other in the 1940s.

    In fact, the film is as much about their aging as it is about their sexual orientation. The process of them finding a suitable retirement facility to move into and the ability of each woman to take care of the other — or herself — are the foci of much of the film. It’s such a familiar story that you have to take a step back to understand how different the process is for two unmarried lesbians who, until recently, couldn’t even fathom the idea of being able to get married.

    There are multiple touching moments in the film, including a dinner with an older gay male couple that only touches the surface of what is obviously a long and meaningful friendship for Terry and Pat. Other seemingly ordinary things that heterosexual couples likely take for granted take on a different light when viewed through the prism of the life led by the two women.

    A Secret Love is a refreshing film in that it doesn’t deal in the tropes that usually accompany stories about LGBTQ+ people. Instead, it simply makes the case that love is love, and the beauty is in a life well lived, no matter who’s doing the living.

    Pat Henschel, Terry Donahue, and Diana Bolan in A Secret Love.

    Pat Henschel, Terry Donahue, and Diana Bolan in A Secret Love
    Photo courtesy of Netflix
    Pat Henschel, Terry Donahue, and Diana Bolan in A Secret Love.
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    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

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    The Housemaid is now playing in theaters.

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