Courtroom dramas are known for their dense scripting and chamber piece settings, which is what makes Leonardo António's feel for visual storytelling all the more impressive. He uses it to elegantly set the mood of this drama about the aftermath of marital rape as survivor Lúcia (Iolanda Laranjeiro) seeks justice through the Portuguese courts while facing a system stacked against her every step of the way.
We start not with the attack - which we only will later learn about through testimony - but with shots of the sea and aerial footage of a city, both of which will return like a chorus through the film, helping the story to retain a sense of movement and flow, as a melancholic Norwegian lullaby tunes us into Lúcia's emotions. We learn about the evening in snatches, a stilted dinner party, a shower in shock and a trip to the police station where Lúcia is greeted by.
We start not with the attack - which we only will later learn about through testimony - but with shots of the sea and aerial footage of a city, both of which will return like a chorus through the film, helping the story to retain a sense of movement and flow, as a melancholic Norwegian lullaby tunes us into Lúcia's emotions. We learn about the evening in snatches, a stilted dinner party, a shower in shock and a trip to the police station where Lúcia is greeted by.
- 12/6/2020
- by Amber Wilkinson
- eyeforfilm.co.uk
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