The topic of abortion has been hotly debated for decades. The practice has sparked fierce arguments, with both advocates and challengers basing their views on social, political and religious rhetoric. It’s also inspired a wealth of cinema, but Belén was first a true story. In 2014, a woman was admitted to a hospital in Argentina with grave abdominal pain. That pain was revealed to be a miscarriage, although she was oblivious to her own 22-week pregnancy. Doctors suspected an abortion, illegal in Argentina at the time, and contacted the police. Belén quickly found herself handcuffed to her hospital bed, charged with aggravated homicide and facing eight years in prison.
The film documents, quite grippingly, the legal drama that unfolded following Belén’s arrest. Feminist lawyer Soledad Deza (Dolores Fonzi) took up the case, one that sparked street protests throughout the country. Deza’s perspective dominates the narrative, which sticks quite closely to the procedural format. It’s a riveting story throughout. Belén spares no detail and takes time to explore a corrupt legal system and expose the harsh contrast of views on an issue that continues to divide nations. The false imprisonment theme may be a little too tried and tested, but it pays dividends when applied to resonant, “real-world” themes.
Fonzi, who also co-wrote and directed Belén, carries the film well. Her striving lawyer arc fits the actor-director as she humanises the Robin Hood complex between marriage and motherhood. But the standout star may be Camila Pláate, who brings Belén (named Julieta) to life. The real Julieta’s identity was protected once the case hit the public, and Plaáte’s heartfelt performance tugs her audience’s heartstrings. Her appalling incarceration serves as the film’s emotional epicentre, running parallel to the stringent courtroom plotline.
Both aspects of the film are equally haunting thanks to the nonpareil cinematography of Javier Juliá. Shaky camera work expresses the initial disorientation, before aptly stabilising in court. Juliá showcases a true understanding of the story, allowing his technical work to represent both the tragedy and the drama that unfolds. It’s all woven together by editor Andrés Pepe Estrada, who similarly acknowledges the emotional tension with subtle yet potent storytelling.
At times, it can indulge itself a little too much. With a clear agenda, the film works hard to antagonise a society that preys on the women’s downfall. That is commendable, but it may overshadow the more complex sociopolitical undercurrents that could yield something even more powerful. Belén finds itself with a tricky balancing act and doesn’t always stick the landing.
But in spite of some messiness, the film proves by its end to be a worthy and affecting cinematic experience. With a vigorous attention to detail, Belén is a deeply moving portrayal of one of history’s most discordant and significant cases. Abortion was legalised in Argentina in 2020. That fact adds even more weight to a stirring and evocative film that meditates on such political importance.
★★★★
In cinemas now, on Prime Video from November 14th / Dolores Fonzi, Camila Pláate, Laura Paredes, Julieta Cardinali, Sergio Prina / Dir: Dolores Fonzi / Prime Video / 15
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