Bright costume colors, glitter, silver, purple, always blow-dried hair, big lips, strong makeup, and trained bodies in contrast to a gray city with decaying socialist buildings, bus transportation from 30 years ago, beautiful nature, and palm trees in the winter sun. Two opposites: the life we would love to lead and the one we are actually leading. The characters would like to be from SEX AND THE CITY (1998-2004), but they and the city don’t have the budget for it. It’s a character-based movie, and the accent is on their world and the inner struggle of keeping a secret of the “crime” the main character committed. BIG WOMEN investigates the subject of selective abortions by portraying complex female characters in a way that dissects specific ways in which patriarchy excludes and suppresses. In addition to that, it is a hilarious surrealist fever dream that focuses on the perseverance of female friendship, which is often loving but at the same time toxic. My intention is not to dwell on the darkness of the theme and pathos. When MIRA and TINA are together, they are a tour de force with the decisions they make, skanky behaviors, and situations they get themselves into. This makes them seem a bit oddball, easy, and often comical. This is why my main reference for the tone of the movie is MURIEL’S WEDDING (1994) by P.J. Hogan.