Insert Yourself

FEATURE LENGTH DOCUMENTARY
IN DEVELOPMENT - SEEKING FUNDING FOR COMPLETION

A device designed to control bodies becomes a symbol of bodily control.

Insert Yourself uses the IUD to expose America's tangled relationship with power, reproductive health care and "choice". From the Global South to the Women's March, this film charts a messy journey from colonial tool to feminist talisman.

SYNOPSIS

The IUD is back. After the 2016 US election it returned as a symbol of feminist resistance. A tiny T-shaped device printed on protest signs, turned into earrings, praised as a two-term insurance policy. In the years since, every political shock has driven another surge. When reproductive justice feels fragile, people reach for the one thing they're promised can't be voted away: an invisible device living inside an estimated 160 million bodies worldwide.

But the IUD's promise comes with a catch and, often, with pain. Behind the "set-it-and-forget-it" mythology lies a fraught history. The modern American IUD was developed by the Rockefeller-funded Population Council and promoted globally as a population control tool, administered primarily in the Global South. Domestically, the IUD has been disproportionately marketed to and sometimes forced upon marginalised communities. In the 1970s, the Dalkon Shield disaster killed 21 women, harmed hundreds of thousands, and nearly removed IUDs from the US market entirely.

Using urgent verité, darkly-funny tableaus, and a rich archive, Insert Yourself tells the IUD's comeback story through the people most shaped by it. A diverse chorus of users alongside contributors including Loretta Ross and leading experts in IUD biopolitics and person-centered care. Can understanding the IUD's coercive past unlock real control?

This is a complex film asking a simple question: In a country obsessed with "choice", who gets to choose?

TEAM

Director
MIMI WILCOX

MIMI WILCOX is an Oscar®-shortlisted, Emmy-nominated and ACE Eddie award-winning filmmaker & editor based in Brooklyn. She directed and edited BAD HOSTAGE, which world premiered at Sheffield DocFest 2024 and was shortlisted for an Academy Award and an IDA Award for Best Short Documentary. Her editing credits include Primetime Emmy-nominated ESCAPING TWIN FLAMES (Netflix), Kartemquin Films' THE DILEMMA OF DESIRE (Showtime, SXSW 2020) and Multitude Films' award-winning short MnM (Criterion, PBS POV). She is a 2026 Berlinale Talent and a 2022-2023 Karen Schmeer Film Editing Fellow.

Director
Julia Martin

JULIA MARTIN is a location sound recordist and filmmaker based in New York City. Most recently she recorded AILEEN (Netflix 2025), a feature documentary re-examining the life and crimes of Aileen Wuornos, directed by Emily Turner and produced by BBC Studios Documentary Unit and NBC News Studio. Additional recent releases include The Travel Companion (Tribeca Festival 2025); The Stimming Pool (CPH:DOX 2024); and the Oscar-qualified There Will Come Soft Rains (Winner, Best UK Short 2025 Raindance Film Festival). Prior to recording, she worked as the Marketing and Distribution Associate at award-winning Chicago documentary house Kartemquin Films. In 2022 she graduated from the University of the Arts London's MA in Documentary Film program.

PRODUCER
ANNA MERRYFIELD

ANNA MERRYFIELD has experience working with broadcasters and streamers such as Channel 4, ITV, CBS, Amazon and DAZN. In 2024, she produced THERESA MAY: THE ACCIDENTAL PRIME MINISTER, a political access documentary about the former prime minister. She has previously worked with BAFTA, EMMY and RTS-winning companies Basement Films, The Slate Works and Ronachan Films. Anna is currently working as a consultant with BAFTA albert and the TV Foundation.

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