Sometimes a straightforward, no frills style is effective for a political film. Dolores Fonzi's Belén communicates momentous events through an unembellished lens. Taking place in the Tucumán region of Argentina, where it was also shot, the film is based upon a nonfiction book, Somos Belén by Ana Correa, which details the real-life case of a woman wrongfully charged for infanticide. The case sparked a national movement, and ultimately aided in the country's legalization of abortion.
The film opens with a harrowing hospital sequence of Julieta (a searing performance by Camila Plaate), unaware of her pregnancy, suffering a miscarriage. She is treated bizarrely, including a disturbing moment where she is suddenly shown a dead fetus by medical staff. Without an investigation, Julieta is promptly arrested and subjected to a rushed, poorly handled trial, that reeks of patriarchy, classism, and Christofascism. She is accused of murdering her child in the hospital bathroom. Her appointed lawyer (Julieta Cardinali) is cold and subtly insidious, displaying disdain for her client, blaming the false accusations on post-partum stress. Julieta is imprisoned, her story seemingly one of many swept under the rug.
Fonzi, who impressively directs, co-writes, and stars, plays Soledad Deza, a dedicated attorney who assembles a group of women determined ot fight for Julieta's freedom. Soledad understands that they need more than just a case, but a sweeping political movement behind them. At first, in hopes of drumming up public support, a glib morning talk show of an old friend patronizes Soledad, pitting her against a surprie virulent anti-abortion guest. But slowly, momentum builds, garnering national attention (this is the era of "Gangnam Style" dance videos, which figures in the film as a contrasting. frivolous example of a vrial moment). To protect Julieta’s identity, Soledad and her team refer to her as "Belén," a name rich in symbolism, meaning "Bethlehem," the birthplace of Christ.
The film traces the ups and downs of Soledad's mission. There are scenes of rocks through windows, children being threatened, and quests for files. These are familiar crime drama tropes, but in this specific story, they are urgent and tense. Meanwhile, glimpses into Julieta / Belén's life reveal her suffocating sentence, where she is judged harshly by some of the other women in jail.
I love the way Fonzi strikingly populates the film with women, who are well-meaning, and not, well-off and poor, in the forefront and in the background (a stoic-looking prison guard becomes unexpectedly benevolent). Down-to-earth, yet, winning and confident, Fonzi guides this ship with steely determination, both in performance and behind the camera.
The film's final act centers upon the verdict and its aftermath. These final scenes are played with poignant restraint, especially by Plaate. Under heavy bangs, cascading black curls and sad, downturned eyes, Julieta / Belén is finally able to let her emotions surface.
Belén is Argentina's entry for International Feature Film at the 98th Academy Awards.
