Belén is a pseudonym; in 2014, a 25-year-old woman arrived at a hospital in Argentina with severe abdominal pain that turned out to be a miscarriage. She had no idea she was 22 weeks pregnant, but doctors suspected she had had an abortion, then illegal in Argentina, and called the police. Belén was charged with aggravated homicide and sentenced to eight years in prison. When her case was taken up by feminist lawyer Soledad Deza it sparked protests, thousands taking to the streets in green scarves. This heartfelt drama tells the story, mostly from the perspective of lawyer Deza (played by the film’s director Dolores Fonzi).
It begins in the hospital. The doctor in charge barely bothers to look up at Belén from his clipboard – she is a poor working-class woman and this will determine her fate. After a foetus is found in the hospital toilet, police arrive, handcuffing Belén to her bed. They do not carry out DNA tests on the foetus, so there is no physical evidence – a fact not raised by the blood-boilingly lazy defence at her trial. The real-life Belén has always chosen to remain anonymous, which might explain why her character takes a back seat here, though Camila Plaate’s sensitive supporting performance gives us a glimpse into Belén’s growing political awareness.
The film is essentially a legal procedural: solid, mostly entertaining and occasionally gripping. It follows Deza and her team step by step as they battle the system to get Belén her appeal. As the case gathers pace, it takes over Deza’s waking hours, causing ripples of resentment in her family. It’s a reminder of expectations around work and home for women – it doesn’t matter how important your job is, missing your child’s violin recital will not be forgiven. The film ends on an absolute punch-the-air high with real-life footage on the streets in December 2020 when abortion in Argentina was legalised, faces filled with delight and tears of joy.
Belén is in UK and US cinemas from 7 November and on Prime Video from 14 November.
