The interplay of power, agency, and identity is central to understanding individual and collective experiences in various contexts, ranging from personal relationships to societal structures. Power refers to the capacity to influence or control outcomes and behaviors, often through authority, resources, or social status ( Sindics et al., 2014). It manifests in various forms, from political and economic power to the subtle dynamics present in everyday interactions. It can be institutional, embedded in societal structures like governments and corporations, or it can be personal, evident in individual relationships and self-perception. The exercise of power often involves both overt mechanisms and more covert forms of influence, shaping the environment in which people operate. Agency, however, is the ability of individuals or groups to act independently and make their own choices ( Holland et al., 2001). It is closely tied to the concept of empowerment, which allows people to exert influence over their own lives and circumstances. It involves a sense of autonomy and the capacity to act on one’s intentions, despite the constraints imposed by external factors such as social norms, economic conditions, or institutional rules. The extent of one’s agency can be shaped by various factors including social status, access to resources, and structural inequalities ( Hooks, 2000). Therefore the perception of identity profoundly influences how power and agency are experienced and exercised. An individual’s identity, encompassing aspects such as gender, race, and social roles, affects their sense of self and their ability to act independently. As argued by Butler (1990), identity, particularly gender is not innate but is socially constructed through repeated norms and performances. When one’s identity aligns with societal norms or privileges, they often experience enhanced agency, feeling more empowered to make choices and influence outcomes. Conversely, marginalized identities may encounter systemic barriers that constrain their agency and limit their ability to exert power ( Hooks, 2000). These power dynamics reflect the broader societal values attached to different identities, with those in dominant groups generally having more resources and opportunities to shape their circumstances.

“Identity is primarily a psychological construct, since it concerns the particular way in which human beings define their self-respect and since it draws its strength as an engine of human thought and action from its psychological existence … Power, on the other hand, is primarily a political concept. In very broad terms that are meant to encompass a variety of approaches, it can be defined as the ability to act upon the human world to change it or to maintain it. Some scholars, such as Foucault, have argued that there is no identity without power- and the reverse could also be advocated.” (Power and Identity, 2014)

Cinema serves as a compelling medium to analyse the dynamics of identity, power, and agency by vividly portraying characters’ interactions with societal structures and personal challenges. Through diverse narratives and visual storytelling, films can highlight how identities are shaped and constrained, how power is exercised and resisted, and how agency is asserted or limited. By reflecting real-world struggles and triumphs, cinema not only entertains but also provides a critical lens for examining and understanding these complex social dynamics. Films like Moonlight ( Jenkins, 2016) and The Danish Girl ( Hooper, 2015) explore the complexities of personal identity amidst societal expectations, highlighting both the constraints and affirmations of marginalised experiences. Power dynamics are portrayed through hierarchical structures in movies such as The Devil Wears Prada ( Frankel, 2006) and The Hunger Games ( Ross et al., 2012), illustrating how control and influence affect characters’ lives. Agency is showcased in narratives like Erin Brockovich ( Soderbergh, 2000) and Hidden Figures ( Melfi, 2016), where individuals overcome systemic barriers through personal determination and resilience. These films provide a rich background for examining how these elements intersect, offering insights into social justice, empowerment, and the human condition. The 2019 film Swallow, directed by Carlo Mirabella-Davis, intricately analyzes identity, power, and agency through its portrayal of Hunter, whose personal identity is constrained by her role within a patriarchal, affluent family. The film critiques the power dynamics at play, highlighting how Hunter’s husband and in-laws exert control over her, both physically and psychologically, limiting her autonomy and reinforcing her sense of helplessness. Hunter’s struggle to reclaim agency is symbolized by her compulsive swallowing of inedible objects, an act that represents her attempt to assert control in an environment where her choices are severely restricted.

The movie Swallow (2019) highly reflects the power of the wealthy family that they exert on poor Hunter. This power acts as a moving force for Hunter in swallowing inedible objects. The societal pressure of being a perfect wife and daughter-in-law takes away her own freedom. Foucault in his work, The History of Sexuality (1978) talks about the omniscience of power, he writes–

“Power is everywhere; not because it embraces everything, but because it comes from everywhere. And ‘Power’, insofar as it is permanent, repetitious, inert, and self-reproducing, is simply the overall effect that emerges from all these mobilities” ( Foucault, 1978).

This resonates with Hunter’s experiences in Swallow, where societal expectations and familial pressures act as pervasive forms of control, contributing to her loss of agency and autonomy.

Swallow (2019) is a psychological thriller that delves into the complexities of power, agency, and identity. The film follows Hunter Conrad, a young woman from humble beginnings who finds herself ensnared in a gilded cage of privilege after marrying into wealth. Her seemingly idyllic life quickly unravels as she grapples with the suffocating control exerted by her husband and in-laws. Pregnancy, often celebrated as a time of joy and anticipation, becomes a battleground for Hunter as her body and mind are subjected to increasing levels of domination. Driven to reclaim her autonomy, she develops a dangerous compulsion to ingest inedible objects. This extreme act of defiance becomes a symbolic struggle against the forces that seek to control her life. Weiss opines that– “The lived body is not a singular, universal phenomenon but a multiplicity of interwoven temporalities, spatialities, and identities, all of which affect the way the body is perceived and experienced” ( Weiss, 1999, p. 5). His perspective on the lived experience of the body can be applied to Hunter’s compulsion to swallow objects, which becomes a manifestation of her struggle with her own identity and bodily autonomy.

Hunter finds her life dramatically transformed when she marries Richie Conrad, a wealthy man from a privileged background. Before her marriage, Hunter worked in a retail store and was unaccustomed to the luxuries that became part of her new life. Initially, Hunter viewed her newfound wealth and lifestyle as a dream come true, something she never imagined possible. However, despite the material comforts, she begins to feel emotionally stifled and isolated within her marriage and domestic life. Richie, who is poised to take over his father’s company, appears to be a kind and generous husband, providing Hunter with everything money can buy. But beneath the surface, he is emotionally neglectful and dismissive of Hunter’s needs. He frequently ignores her during conversations, often absorbed in his phone at the dinner table, and even mocks her in front of his parents. A befitting example would be when Hunter is showing interest in planting flowers in the empty flower bed by the pool and Richie gets easily distracted by a phone call–

Hunter : I think there’s room for a flower bed out back … near the pool. I’d like to plant some if that’s okay.

Richie : Oh Yeah! What kind of flowers?

Hunter : Tiger Lillies, Tulips, Morning Glories. (Richie’s phone beeps and he is distracted)

Richie : Sorry Babe. One second. I just gotta respond to this.

Hunter : Okay. Sure.

Hunter : It’s a great name for flowers, isn’t it? Morning Glories. Like the glory of an awesome morning. I like mornings more and more these days. This house has great light. (Richie is busy on his phone all this while).

Hunter : I feel so lucky.

Richie : Hm?

Hunter : I feel so lucky.

Richie : Hm. ( Davis, 2019, 0:5:52)

Richie’s attitude reveals a troubling mindset, he believes that showering Hunter with luxury is enough. The arrival of an unplanned pregnancy only exacerbates Hunter’s sense of entrapment. Richie, overjoyed by the news, immediately shares it with his parents without consulting Hunter about her feelings or readiness for motherhood. Hunter, confused and unsure about her own emotions, feels pressured to pretend she shares Richie’s excitement. This marks the beginning of a profound change in Hunter’s life, as Richie and his parents increasingly assert control over every aspect of her existence—her body, her mind, and even the future of the unborn child. They begin making decisions for her, dictating everything from the length of her hair to the imagined career of their future offspring. The following instance shows Hunter’s confusion–

Richie : (On call with his mother) Ma, we’re pregnant.

Hunter : (perplexed. Unable to understand the feeling).

Richie : (Comes to Hunter). Wow! Wow! ( Davis, 2019, 0:7:41)

As Hunter’s autonomy slips away, she becomes increasingly anxious. During this time, she reads a book that suggests, ‘Every day, try to do something unexpected. Push yourself to try new things.’ These words resonate deeply with her, and she begins to contemplate what unexpected act she could perform to reclaim a sense of control over her life. Her eyes fall upon a glass box filled with marbles, and impulsively, she swallows one. This act, though strange, gives her a fleeting sense of empowerment; she feels a small victory in doing something purely on her own terms. This compulsion soon becomes a daily ritual. Hunter begins swallowing increasingly dangerous objects—thumbtacks, batteries, screws—finding solace in these acts of self-harm as a way to assert control over her body. Her secret compulsion is discovered during a routine ultrasound, where the technician notices foreign objects in her stomach. Hunter is diagnosed with pica, a disorder that compels individuals to eat non-food items. Although she never intended to harm her unborn child, Hunter’s actions are a desperate attempt to reclaim her basic right to bodily autonomy.

In response, Richie’s parents, more concerned about the baby than Hunter herself, arrange for a full-time nurse to monitor her, effectively placing her under constant surveillance. This only deepens Hunter’s sense of entrapment. Richie, too, continues to prioritize the baby over Hunter’s well-being, even going so far as to discuss her condition with his colleagues, humiliating her further. Feeling increasingly isolated, Hunter reluctantly begins therapy, only to discover that the therapist is reporting back to Richie, further eroding her trust and making her feel even more vulnerable–

Richie’s Father: Well, I would think medication first, right, Alice? I mean, just to settle her down. I don’t wanna tell you how to do your job but I am paying for this, so results. We want results.

Alice (Therapist): I think it might be better if I could get some time with Hunter alone.

Richie : Ah, no. No, I’m gonna stay. Yeah, just to make sure that she’s fine …

(Richie and his father go out. Leaving behind Hunter alone with Alice.)

( Davis, 2019, 0:36:39)

During one of these sessions, Hunter reveals a painful truth: she was conceived as a result of rape, and her biological father served time in prison for the crime. Though her stepfather treated her well, this revelation is a source of deep shame and confusion for Hunter. When she overhears her therapist sharing this intimate detail with Richie, it pushes her to the brink. This betrayal exacerbates her pain, leading her to attempt self-harm by swallowing a sharp object. She is then rushed to the hospital for urgent treatment, highlighting her severe distress and the critical need for both psychological and medical support.

The incident reflects a critical turning point in Hunter’s life, where her autonomy is severely challenged by those closest to her. Her in-laws, along with Richie, decide to commit her to a psychiatric hospital, framing the decision as necessary for the safety of her unborn child. This action is emblematic of the control they exert over her, particularly Richie’s ultimatum that threatens divorce if she does not comply. Hunter’s initial reaction—pleading for reconsideration—highlights her desperation and feelings of powerlessness. Despite her promises to avoid self-harm, the resolve of her parents and Richie remains unyielding, pushing her towards a decision that underscores her loss of agency. Hunter’s subsequent actions—locking herself in the bathroom, escaping through the window, and fleeing into the woods—represent a significant moment of defiance. This escape is not merely a physical departure but a symbolic rejection of the oppressive circumstances she finds herself in. Checking into a motel, she attempts to communicate with Richie, only to be met with anger and insults. His response further cements her realization that their relationship, rooted in her desire to please him, is fundamentally flawed. The act of smashing her phone is emblematic of Hunter severing ties with her previous life, a life dictated by the expectations of others. Her decision to eat soil, a behavior linked to her psychological condition, symbolizes a complete rejection of the life she once tried to embrace, marking a return to something raw and elemental, far removed from the facade she maintained. This incident illustrates the profound inner conflict Hunter faces and serves as a catalyst for her eventual assertion of self-determination.

The next morning, Hunter checks out of the motel and, feeling utterly alone, calls her mother, hoping to stay with her for a few days. Her mother, however, tells her that her sister and nieces are visiting, leaving no room for Hunter. Feeling abandoned, she decides to visit her biological father, William Erwin. She arrives at his home unannounced, interrupting a family celebration. In a private conversation, she reveals her identity to William, who expresses deep shame for the crime he committed against her mother. When Hunter asks if he is ashamed of her or if she is like him, William denies both, offering her a semblance of the closure she has long sought. With this newfound sense of closure, Hunter makes a final, life-changing decision. She goes to a hospital and aborts the child, reclaiming control over her body and her future. In the aftermath, she dresses in a way that reflects her true self and steps out into the city, finally breathing the air of freedom she has fought so hard to reclaim.

“One is not born, but rather becomes, a woman. No biological, psychological, or economic fate determines the figure that the human female presents in society; it is civilization as a whole that produces this creature, intermediate between male and eunuch, which is described as feminine” ( De Beauvoir, 1949, p. 267).

Hunter’s journey in Swallow can be seen as a struggle against the roles imposed upon her by a patriarchal society, illustrating the idea that femininity is a construct rather than an inherent trait.

Swallow unfurls a harrowing narrative where the pregnant body becomes a contested terrain, a battlefield where power and agency clash. The film masterfully exposes the medical gaze as a potent force, objectifying and controlling the female body. Hunter’s journey encapsulates the psychological torment of bodily invasion, as she navigates a world that denies her autonomy. Beyond the individual experience, Swallow serves as a mirror reflecting societal expectations and patriarchal structures that continue to shape women’s lives. The film’s unflinching portrayal of the pregnant body as a battleground is a stark reminder of the ongoing struggle for bodily autonomy and gender equality. As we move forward, it is imperative to critically examine the medical, social, and cultural forces that intersect to shape women’s experiences of pregnancy. By recognizing the pregnant body as a complex site of power dynamics, we can work towards a future where women have full control over their bodies and reproductive choices. Swallow is a poignant call to action, urging us to dismantle the structures that perpetuate the pregnant body as a battleground.

To fully comprehend the complexities of this issue, future research could delve deeper into the intersection of class, race, and disability with experiences of bodily autonomy during pregnancy. A comparative analysis of films and media representations from different cultural contexts could also provide valuable insights into global perspectives on the pregnant body. By expanding our understanding of these factors, we can develop more comprehensive and effective strategies to challenge and dismantle systems of oppression that continue to impact pregnant women.

Ethical approval and consent were not required.