The Pregnant Body as a Battlefield: A Corporeal Exploration of Power and Agency in Swallow

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n.callMethod.apply(n,arguments):n.queue.push(arguments)} ;if(!f._fbq)f._fbq=n; n.push=n;n.loaded=!0;n.version='2.0';n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0];s.parentNode.insertBefore(t,s)}(window, document,'script','https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '1641728616063202'); fbq('track', "PixelInitialized", {}); (function(h,o,t,j,a,r){ h.hj=h.hj||function(){(h.hj.q=h.hj.q||[]).push(arguments)}; h._hjSettings={hjid:2318163,hjsv:6}; a=o.getElementsByTagName('head')[0]; r=o.createElement('script');r.async=1; r.src=t+h._hjSettings.hjid+j+h._hjSettings.hjsv; a.appendChild(r); })(window,document,'https://static.hotjar.com/c/hotjar-','.js?sv='); search file_upload Submit your research search menu close search Browse Gateways & Collections How to Publish Submit your Research My Submissions Article Guidelines Article Guidelines (New Versions) Open Data, Software and Code Guidelines Open Data and Accessible Source Materials Guidelines (HSS) Open Data, Software and Code Guidelines (PSE) Prepublication Checks Production Process Posters and Slides Guidelines Document Guidelines Article Processing Charges Peer Review Finding Article Reviewers About How it Works For Reviewers Our Advisors Policies Glossary FAQs For Developers Newsroom Contact My Research Submissions Content and Tracking Alerts My Details Sign In file_upload Submit your research { "@context": "https://schema.org", "@type": "ScholarlyArticle", "mainEntityOfPage": { "@type": "WebPage", "@id": "https://f1000research.com/articles/15-696" }, "headline": "The Pregnant Body as a Battlefield: A Corporeal Exploration of Power and Agency in Swallow", "datePublished": "2026-05-11T06:30:52", "dateModified": "2026-05-11T06:30:52", "author": [ { "@type": "Person", "name": "Archita Pattnaik" }, { "@type": "Person", "name": "Shipra Gupta" } ], "publisher": { "@type": "Organization", "name": "F1000Research", "logo": { "@type": "ImageObject", "url": "https://f1000research.com/img/AMP/F1000Research_image.png", "height": 480, "width": 60 } }, "image": { "@type": "ImageObject", "url": "https://f1000research.com/img/AMP/F1000Research_image.png", "height": 1200, "width": 150 }, "description": " Background Swallow (2019) offers a deeply unsettling yet compelling exploration of the female body as a contested space where power, control, and agency intersect. Through its focus on pregnancy, the film exposes how a woman’s body becomes subject to both internal struggles and external regulation. It situates the pregnant body within a broader network of societal expectations, revealing how autonomy is often compromised by cultural norms, medical authority, and patriarchal structures. Methods This paper undertakes a close textual and thematic analysis of the film, paying particular attention to its visual language, narrative structure, and psychological framing of the protagonist. It draws on interdisciplinary theoretical perspectives related to bodily autonomy, medicalisation, and power dynamics to interpret the protagonist’s experiences. By examining key scenes and character interactions, the study investigates how authority is exercised over the female body and how resistance is articulated through embodied actions. Results The analysis reveals that the film sharply critiques the medicalisation of pregnancy, portraying it as a process through which the female body is monitored, regulated, and controlled by external forces such as doctors, family members, and societal expectations. The protagonist’s psychological distress underscores the invasive nature of this control, illustrating how her autonomy is gradually eroded. At the same time, her bodily actions emerge as forms of resistance, transforming her physicality into a site where oppression and defiance coexist. This duality highlights the complexity of agency, showing that even within constraint, acts of self-assertion remain possible. Conclusions Swallow challenges conventional narratives of motherhood and femininity by presenting the pregnant body not as passive or purely nurturing, but as a deeply contested and politicised space. The film redefines this body as one capable of both vulnerability and resistance, thereby offering a nuanced commentary on female agency. This study concludes that Swallow not only critiques entrenched societal norms but also reframes the pregnant body as a powerful, if conflicted, site of autonomy and defiance. " } { "@context": "http://schema.org", "@type": "BreadcrumbList", "itemListElement": [ { "@type": "ListItem", "position": "1", "item": { "@id": "https://f1000research.com/", "name": "Home" } }, { "@type": "ListItem", "position": "2", "item": { "@id": "https://f1000research.com/browse/articles", "name": "Browse" } }, { "@type": "ListItem", "position": "3", "item": { "@id": "https://f1000research.com/articles/15-696/v1", "name": "The Pregnant Body as a Battlefield: A Corporeal Exploration of Power..." } } ] } Home Browse The Pregnant Body as a Battlefield: A Corporeal Exploration of Power... ALL Metrics - Views Downloads Get PDF Get XML Cite How to cite this article Pattnaik A and Gupta S. The Pregnant Body as a Battlefield: A Corporeal Exploration of Power and Agency in Swallow [version 1; peer review: awaiting peer review] . F1000Research 2026, 15 :696 ( https://doi.org/10.12688/f1000research.157100.1 ) NOTE: If applicable, it is important to ensure the information in square brackets after the title is included in all citations of this article. Close Copy Citation Details Export Export Citation Sciwheel EndNote Ref. Manager Bibtex ProCite Sente EXPORT Select a format first Track Share ▬ ✚ Research Article The Pregnant Body as a Battlefield: A Corporeal Exploration of Power and Agency in Swallow [version 1; peer review: awaiting peer review] Archita Pattnaik https://orcid.org/0009-0008-0573-099X 1 , Shipra Gupta 2 Archita Pattnaik https://orcid.org/0009-0008-0573-099X 1 , Shipra Gupta 2 PUBLISHED 11 May 2026 Author details Author details 1 School of Biotechnology, Kalinga Institute of Industrial Technology, Bhubaneswar, Odisha, 751024, India 2 School of Liberal Studies, Kalinga Institute of Industrial Technology, Bhubaneswar, Odisha, 751024, India Archita Pattnaik Roles: Conceptualization, Investigation, Validation, Writing – Original Draft Preparation Shipra Gupta Roles: Conceptualization, Supervision, Writing – Review & Editing OPEN PEER REVIEW REVIEWER STATUS AWAITING PEER REVIEW This article is included in the Social Psychology gateway. This article is included in the Kalinga Institute of Industrial Technology (KIIT) collection. Abstract Background Swallow (2019) offers a deeply unsettling yet compelling exploration of the female body as a contested space where power, control, and agency intersect. Through its focus on pregnancy, the film exposes how a woman’s body becomes subject to both internal struggles and external regulation. It situates the pregnant body within a broader network of societal expectations, revealing how autonomy is often compromised by cultural norms, medical authority, and patriarchal structures. Methods This paper undertakes a close textual and thematic analysis of the film, paying particular attention to its visual language, narrative structure, and psychological framing of the protagonist. It draws on interdisciplinary theoretical perspectives related to bodily autonomy, medicalisation, and power dynamics to interpret the protagonist’s experiences. By examining key scenes and character interactions, the study investigates how authority is exercised over the female body and how resistance is articulated through embodied actions. Results The analysis reveals that the film sharply critiques the medicalisation of pregnancy, portraying it as a process through which the female body is monitored, regulated, and controlled by external forces such as doctors, family members, and societal expectations. The protagonist’s psychological distress underscores the invasive nature of this control, illustrating how her autonomy is gradually eroded. At the same time, her bodily actions emerge as forms of resistance, transforming her physicality into a site where oppression and defiance coexist. This duality highlights the complexity of agency, showing that even within constraint, acts of self-assertion remain possible. Conclusions Swallow challenges conventional narratives of motherhood and femininity by presenting the pregnant body not as passive or purely nurturing, but as a deeply contested and politicised space. The film redefines this body as one capable of both vulnerability and resistance, thereby offering a nuanced commentary on female agency. This study concludes that Swallow not only critiques entrenched societal norms but also reframes the pregnant body as a powerful, if conflicted, site of autonomy and defiance. READ ALL READ LESS Keywords Power, Dominance, Bodily autonomy, Oppression, Defiance Corresponding Author(s) Archita Pattnaik ( [email protected] ) Close Corresponding author: Archita Pattnaik Competing interests: No competing interests were disclosed. Grant information: The project received funding from The Kalinga Institute of Industrial Technology (KIIT), Deemed to be University, Bhubaneswar, Odisha. The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript. The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript. Copyright: © 2026 Pattnaik A and Gupta S. This is an open access article distributed under the terms of the Creative Commons Attribution License , which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. How to cite: Pattnaik A and Gupta S. The Pregnant Body as a Battlefield: A Corporeal Exploration of Power and Agency in Swallow [version 1; peer review: awaiting peer review] . F1000Research 2026, 15 :696 ( https://doi.org/10.12688/f1000research.157100.1 ) First published: 11 May 2026, 15 :696 ( https://doi.org/10.12688/f1000research.157100.1 ) Latest published: 11 May 2026, 15 :696 ( https://doi.org/10.12688/f1000research.157100.1 ) Introduction 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. Methods The pregnant body as a contested site between power and agency Power and agency are interconnected and often in tension. Those with power often seek to limit the agency of others, while those with agency may challenge existing power structures. In a patriarchal society, men often hold more power than women. This power can limit women’s agency by restricting their choices, controlling their bodies, and denying them opportunities. However, women can also exercise agency by resisting these power structures, challenging gender norms, and demanding equality. There are significant instances which depict the contest between power and agency in Swallow. Right after their marriage, Hunter and Richie shift to a new house which was a wedding gift from Richie’s parents. Hunter wanted to decorate it as per her liking but at every point she was questioned and choices were made fun of by her husband and in-laws. At the dinner, Hunter is asked by Richie to share a funny story which Hunter did not want to share but she does on his insistence. While she is narrating the story, her father-in law interrupts and starts a business conversation with Richie. This shows how Hunter was made to feel unimportant and insignificant. They always treated her as an inferior. This was visible from a discussion at the dinner table- Richie’s Mother: Whoo! There we are. Darling, what a day! Good news! Richie’s Father: Look at this. (Pointing to Hunter’s Womb). The future CEO of our company. Right here. (They start talking about Richie’s birth and how crazy child he was) Richie : You know, Hunter was a crazy kid, too. Tell them about the, uh … What was it? The guy on the side of the road who, uh … Yeah, Yeah,yeah. Tell it. Do it. It’s good. Hunter : It’s not really a story. Um, there was this guy, kind of a local nutcase and he would stand on the side of the road into town and he would blow kisses at all the cars passing by. And at first, he scared me because he had this beard and dirty hair and bad teeth. Uh, it was like this religious calling or something. He had to blow … Richie’s Father: Oh, by the way, Richie … uh, before I forget, um, how was it left with the carver people? Richie : They sent over the contracts and it’s being e-signed because the partners are in Africa. ( Davis, 2019 , 0:8:15) (Hunter was interrupted and a business conversation began. Hunter felt humiliated) That is when the first incident of Pica happens, Hunter looks at the glass of ice kept in front of her. She found the ice to be very tempting and started eating them with a crackling sound. When she is with the therapist and the therapist asks her how she feels while ingesting these items she reveals they make her feel good– Alice : How does it make you feel when you swallow something? Hunter : I don’t know. Good. I guess. Alice : In what way? Hunter : I just like the textures in my mouth. I like the way they feel in my mouth. Mattress stuffing, ice, metal, cold metal, especially junk like that. ( Davis, 2019 , 0:37:58) These lines suggest the onset of a dangerous and disturbing mental illness which gets worse with time. Richie and his family, inconspicuous to her suffering, continue interfering and meddling with her life. When she was pregnant, she was directed to behave in a particular way. She was given a book by her mother-in-law that she had read during her pregnancy and is now passing on that book to Hunter. She notices that Hunter has short hair; she asks or rather instructs her to grow her hair long as Richie likes long hair. Even the length of Hunter’s hair was being decided by her mother-in law. Richie’s Mother: (Comes to meet Hunter). Aah! Hunter: (Shouts, she is scared). Richie’s Mother: Sorry Darling. I let myself in. Hunter : You gave me such a fright. Richie’s Mother: Obviously. I just wanted to bring this over. Self help book. I read it when I was pregnant and it really helped with the postpartum. Hunter : Oh, my gosh. I love it. I’m making lunch. Grilled cheese sandwiches and Tomato soup. Can you stay? Richie’s Mother : Oh! I wish I could. Hunter : I can make something else. Richie’s Mother : No … no… no… Don’t bother. I better be going … You would look so pretty with long hair. You should grow it out. Richie likes his girls with long, beautiful hair. ( Davis, 2019 , 0:11:29) Hunter was gradually losing herself. Her choice didn’t have a role in her life anymore. She was being instructed what to do and she had no choice except to follow what was being said. The picture of a perfect woman in society has captivated the minds in such a way that people are not just ready to see another image of women. “The idea of a perfect mother or woman—innately nurturing, self-sacrificing, and never angry—is an incredibly effective tool of oppression” ( Valenti, 2012 , p. 59). This aligns with Hunter’s experiences, as she faces societal and familial pressure to embody an idealized version of femininity and motherhood, leading to a sense of entrapment and loss of self. The ultrasound revealing strange objects in Hunter’s stomach marks a pivotal moment that intensifies the control exerted over her by her husband and in-laws. Her howling and resistance to the surgery highlight her deep fear and desperation, yet her objections are disregarded, and she is forcibly taken to undergo the procedure. This act of coercion exemplifies the extent to which her autonomy is compromised. The situation escalates when Hunter is pressured to sign papers committing her to a psychiatric hospital, with Richie threatening divorce if she refuses. This ultimatum underscores the manipulative dynamics at play, where her choices are not truly her own but are dictated by the demands of others. Despite being wrapped in the guise of love and care, the decisions made on her behalf by Richie and her in-laws are fundamentally about control rather than genuine concern for her well-being. Hunter’s inability to make decisions for herself becomes a clear manifestation of her lack of agency in her own life. Every critical decision—whether about her health, her mental state, or her future—is dominated by her husband and in-laws, leaving her powerless and isolated. This scenario starkly illustrates the oppressive environment she is trapped in, where the pretense of care masks a deeper intention to control and subdue her. Objectification and loss of agency The protagonist’s experience in the film is characterized by a profound objectification and loss of agency, particularly during the numerous medical examinations and procedures she undergoes. These scenes are often depicted in a clinical and detached manner, where the camera’s focus on her body reduces her to an object of study rather than a person with autonomy. This portrayal underscores the power dynamics at play, as medical professionals exert significant control over her body and reproductive decisions. Her limited choices and the consistent disregard for her opinions highlight the stark imbalance of power between the patient and the doctors, further stripping her of agency and reducing her to a mere vessel within the medicalised environment. This combined depiction of objectification and powerlessness illuminates the dehumanizing effects of such an imbalanced relationship, where the protagonist’s personhood is overshadowed by the clinical gaze and the dominating authority of the medical professionals. Normalization of invasion The film challenges the normalization of invasive medical procedures during pregnancy, raising critical questions about whether these interventions are always necessary or beneficial. It presents a narrative where the protagonist’s autonomy is consistently undermined, not only by medical professionals but also by her family. Her mother-in-law’s well-meaning but authoritarian advice on diet—insisting that Hunter consume foods rich in fiber and iron without considering her preferences—exemplifies this dynamic. By dictating what Hunter should eat, the mother-in-law imposes her own standards of care, reinforcing a pattern of control that mirrors the broader medical environment. This interplay between medical and familial authority highlights the pressure placed on pregnant women to conform to external expectations, often at the expense of their own desires and comfort. Through these interactions, the film critiques the often-overlooked impact of such interventions and advice, questioning the assumption that they are inherently beneficial when they disregard the individual’s agency and personal needs. She tries to manipulate Hunter– Richie’s Mother: Let’s start juicing. We are gonna make you a daily fruit and vegetable drink with lots of iron. You see. Your brain and body are connected. But right now, your body is starving so it is sending the wrong signal to the brain about what it wants to eat. So, we are going to reconnect the brain and the body. Hunter: Yeah. Totally. ( Davis, 2019 , 0:38:50) The introduction of Luay, a house help, into Hunter’s life serves as a further illustration of the control exerted over her under the guise of care. Despite Hunter’s initial resistance to the idea, her mother-in-law insists on the arrangement, justifying it with her own experience of having help during pregnancy and expressing concern for Hunter’s well-being. This imposition reflects a pattern where Hunter’s preferences and autonomy are consistently overridden by the dominant figures in her life. Forced to accept Luay’s presence, Hunter experiences a growing sense of powerlessness, as she is compelled to conform to decisions made on her behalf, often without regard for her own comfort or desires. In response to this sustained dominance, Hunter resorts to ingesting inedible objects as a desperate attempt to reclaim some measure of control over her life. This behavior can be interpreted as a symbolic act of resistance, highlighting the psychological toll of her loss of agency and the lengths to which she goes to assert her autonomy in an environment where it is continually undermined. Luay : Hi. Nice to meet you. I’m Luay. Hunter : Hi, Luay. (To Richie) Who is he? Richie : Luay’s is gonna be helping you out around the house. He is a nurse. A live-in nurse. He is great with memaw. Very sensitive. Hunter : Doing, what exactly? I’m not a senior citizen. Richie : Look, I gotta work. I can’t be here 24/7. Hunter : So, he’s here to keep an eye on me? Richie : No. He’s here as a resource. If you are tired, he can cook for you. He can go to the store and get you things. Hunter : What, is he gonna be pulling stuff out of my hands? Richie : Okay, okay. Just relax, babe, okay? Mom? Mom, Can you come and explain this, please? This was your idea and I just can’t deal with this right now. Richie’s Mother: You know, I had help around the house when I was pregnant. It really takes the pressure off. Plus, you’re still recovering from your little stay in the hospital. Honey, Luay is the best there is. Help us help you. ( Davis, 2019 , 0:39:59) The medical gaze, as portrayed in Swallow , contributes to the overall theme of bodily invasion and the struggle for agency. It highlights the importance of informed consent and patient autonomy in healthcare. Agency, on the other hand, is the protagonist’s capacity to act independently and make choices. While severely restricted, she exhibits agency in subtle and subversive ways. Despite the medical control over her body, the protagonist asserts a form of agency through her dangerous acts of ingestion. These acts, though destructive, signify a desperate attempt to reclaim control. She swallows dangerous objects as she feels achievable and proud of herself. Through these acts, she felt like she can also take the decisions for herself. While outwardly conforming to societal expectations, the protagonist internally rebels against her prescribed role. Her emotional turmoil and quiet defiance represent a psychological assertion of agency. She plants flower pots near the pool. She cleans the house continuously and cannot stand it when its dirty. Towards the end of the story, she smashes her phone to take out her anger. By meticulously following the rules and expectations imposed on her, the protagonist creates a facade of obedience. However, this compliance can be seen as a form of resistance, as she subtly undermines the power structures around her. Essentially, Swallow presents a stark contrast between the oppressive forces that seek to control the protagonist and her limited but determined efforts to exercise agency. The film explores the complexities of power dynamics and the human spirit’s resilience in the face of adversity. “The new sexual contract that post-feminism has offered women is paradoxical. It suggests that women have to demonstrate a capacity for choice and self-surveillance in a world that constantly judges them” ( McRobbie, 2009 , p. 19). Hunter’s journey reflects the paradox of needing to assert her own agency within a system that consistently limits and judges her choices, highlighting the difficulty of achieving true autonomy. Results The psychological impact of bodily invasion on the protagonist The constant invasion of the protagonist’s body in Swallow has profound psychological consequences. Loss of Agency and Depersonalization: The protagonist’s experience of repeated medical procedures, combined with the psychological manipulation she endures, results in a profound loss of control and agency. As her body becomes a battleground for external forces, she increasingly feels disconnected from her own physical self. This detachment, fostered by the objectification inherent in the medical gaze, leads to a sense of depersonalization, where she begins to perceive herself more as an object or vessel rather than a person with autonomy and desires. Trauma, Anxiety, and Body Dysmorphia: The invasive nature of the medical interventions, along with the constant surveillance of her body, triggers significant psychological distress, manifesting as trauma and anxiety. These experiences may lead to flashbacks, nightmares, and an ongoing state of fear. Moreover, the intense scrutiny of her body as something that needs to be ‘fixed’ fosters a distorted perception of her physical form, contributing to the development of body dysmorphic disorder. Isolation and Alienation: The cumulative effect of feeling controlled, violated, and objectified fosters deep feelings of isolation and alienation in the protagonist. As her sense of trust erodes, she withdraws from social interactions and becomes increasingly detached from those around her, further exacerbating her psychological distress and reinforcing her sense of being alone in her struggles. “Feminists too have rigorously criticized the past representations of culture, claiming that anthropologists often put forward patriarchal and thus partial accounts. Twenty-years of feminist scrutiny have made it impossible to understand the importance of gender in all societies or to avoid the recognition that what men may take to be important may well be experienced in quite different ways by women.” (Holland, 2001, p.24) Hunter’s daily life was characterised by constant instruction and control, in stark contrast to Richie, who exercised autonomy over his own actions. While Richie enjoyed the freedom to celebrate his birthday with colleagues and pursue his own interests, Hunter remained confined to the home, subjected to continuous surveillance by Luay. This disparity highlights the unequal distribution of agency within their relationship, where Hunter’s movements and choices were tightly regulated, while Richie experienced little to no such restrictions. Discussion 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 considerations Ethical approval and consent were not required. Data availability statement The Data used in this study doesn’t use any human samples. It is purely textual (film analysis) in nature. The film is widely available on online streaming platforms. References Butler J: Gender trouble: Feminism and the subversion of identity. Routledge; 1990. Davis CM, director. Swallow [Film]. Syncopated Films; Standalone Productions; 2019. de Beauvoir S : The second sex. Vintage Books; 1949. Foucault M: The history of sexuality: Volume 1: An introduction. Pantheon Books; 1978. Frankel D, director. The devil wears Prada [Film]. Fox 2000 Pictures; 2006. Holland D, Lachicotte W, Skinner D, et al. : Identity and agency in cultural worlds. Harvard University Press; 2001. Hooks, b: Feminism is for everybody: Passionate politics. South End Press; 2000. Hooper T, director. The Danish girl [Film]. Universal Pictures; 2015. Jenkins B, director. Moonlight [Film]. A24; Plan B Entertainment; 2016. McRobbie A: The aftermath of feminism: Gender, culture and social change. SAGE Publications; 2009. Melfi T, director. Hidden figures [Film]. Fox 2000 Pictures; 2016. Ross G, Collins S, Ray B, directors. The hunger games [Film]. Color Force; 2012. Sindic D, Barreto M, Costa-Lopes R: Power and identity. Taylor & Francis; 2014. Publisher Full Text Soderbergh S, director. Erin Brockovich [Film]. Universal Pictures; 2000. Valenti J: Why have kids? A new mom explores the truth about parenting and happiness. New Harvest; 2012. Weiss G: Body images: Embodiment as intercorporeality. Routledge; 1999. Comments on this article Comments (0) Version 1 VERSION 1 PUBLISHED 11 May 2026 ADD YOUR COMMENT Comment Author details Author details 1 School of Biotechnology, Kalinga Institute of Industrial Technology, Bhubaneswar, Odisha, 751024, India 2 School of Liberal Studies, Kalinga Institute of Industrial Technology, Bhubaneswar, Odisha, 751024, India Archita Pattnaik Roles: Conceptualization, Investigation, Validation, Writing – Original Draft Preparation Shipra Gupta Roles: Conceptualization, Supervision, Writing – Review & Editing Competing interests No competing interests were disclosed. Grant information The project received funding from The Kalinga Institute of Industrial Technology (KIIT), Deemed to be University, Bhubaneswar, Odisha. The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript. The funders had no role in study design, data collection and analysis, decision to publish, or preparation of the manuscript. Article Versions (1) version 1 Published: 11 May 2026, 15:696 https://doi.org/10.12688/f1000research.157100.1 Copyright © 2026 Pattnaik A and Gupta S. This is an open access article distributed under the terms of the Creative Commons Attribution License , which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Download Export To Sciwheel Bibtex EndNote ProCite Ref. Manager (RIS) Sente metrics Views Downloads F1000Research - - PubMed Central info_outline Data from PMC are received and updated monthly. - - Citations open_in_new 0 open_in_new 0 open_in_new SEE MORE DETAILS CITE how to cite this article Pattnaik A and Gupta S. The Pregnant Body as a Battlefield: A Corporeal Exploration of Power and Agency in Swallow [version 1; peer review: awaiting peer review] . 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