Sexual and reproductive services face an uncertain future as the country’s second-largest donor halts support worth hundreds of millions of pounds

The Swedish flag is still flying above the pale blue building overlooking the Atlantic in Liberia’s capital, Monrovia, but the doors of the embassy are now closed to visitors. On 31 August, the Swedish embassy in Liberia ends a presence in the country that dates back to 1961.

The billions of kronor of aid that Sweden pipes into the west African country will end on the same day, as sweeping cuts to Swedish development funding come into effect.

The latest in our series of writers highlighting their go-to comfort films is an ode to the teary 1994 adaptation of the classic novel

I have an ongoing argument with some friends about how I refuse to watch Interstellar again, despite considering it a beautiful and well-crafted film. It’s just so sad, I tell them, even with its hopeful ending. A desperate, choking lump forms in my chest as soon as I hear the futuristic swells of Hans Zimmer’s score and I have to remove myself before I am overtaken by emotion.

But at the same time, the movie I choose as my feelgood film is one that has reduced me to a sobbing, snotty mess time and time again, whether I’m watching it curled up with my cat on the couch, swaddled in blankets while sick in bed or jostling with my seatmate for the armrest on an airplane. And just like with the score from Interstellar, the moment I hear Thomas Newman’s wistful little oboe intro of the 1994 version of Little Women, I can feel my eyes well up with tears.