- Date of Release: 18 September 2025
- Genre: Crime, Drama
- Language: Spanish
- Watch On: Amazon Prime Video
Belen
Introduction
There is a stray shot in Belen, Argentina’s Official Submission to the Oscars of 2026, featuring a red thread that is pulled out of a sewing pin. The red colour here isn’t incidental – it forms an intense metaphor that connects the two protagonists of the film, each of who are battling the system in different ways. When you are first introduced to Julieta (Camila Plaate), you see her in a pretty painful state whilst being taken to a local hospital. It must also be noted that Julieta belongs to the backward working class – a fate that would come back to haunt her. But whilst in the hospital, you witness the carelessness of the medical staff wherein Julieta isn’t tested for pregnancy despite being 22 weeks pregnant. The pain in her abdomen is treated in isolation without connecting it to her miscarriage. And yet when she is arrested from the hospital – being handcuffed from the operation theatre, you can’t help but feel sorry for her given how lacklustre the abortion policy it was in Argentina in 2014, at the time of this incident. A foetus found in the can was the only assumption in play, even as Julieta found herself to be sentenced in jail for eight years.
Story & Screenplay
Based on the novel Somos Belen by Ana Correa and adapted to the screen by Dolores Fonzi, Laura Paredes, Agustina San Martin and Nicolas Britos, Belen is a pseudonym of sorts – again a trait that isn’t incidental for it represents many women facing similar issues like Julieta. It is interesting on how Julieta remains in oblivion for 2 years, before the drama makes a POV shift to the other protagonist of the film – a fearless lawyer Soledad Deza (Dolores Fonzi) who decides to help her. While the writing is pretty straight-forward, you do get a sense of Julieta’s life, almost being pushed to the realms in prison – something that would later be implied with the use of blood that she imagines. You see her slowly coming to terms with her new life wherein she is initially dismissive of Deza, or even speculative about Deza using her name to protect the integrity of her family.
One of the recurring themes in the drama is of marginalization of gender here, wherein all the laws are in place to avoid women from opting for adoption, despite Argentina being a democracy. As a result, the state machinery is of no use for Julieta too – the DNA test on the foetus isn’t done while the entire case is built on an assumption that the guilty has been jailed, the defence lawyer is virtually non-existent, and the judge is heavily-biased towards the religious strings of the case. It is a reflection of the sad reality wherein women’s rights are tactfully chipped off, thereby increasingly tilting the society towards a patriarchal outlook. And somewhere beneath, the subtext remains of a class divide that only widens the gap.
It is interesting on how the connective tissue between Julieta and Deza remains hardships against the system. While it is a psychological battle for Julieta in jail, almost keeping her identity in check even with the inmates and jailers around her, the challenge for Deza remains equally compound. For starters, you see her juggling with her family life comprising of two children and her husband – wherein you observe a strained relationship that she shares with her daughter Flora (Gaia Garibaldi). In a scene, you see her turning up late for her daughter’s annual day because she was held up with work. Ironically, Deza’s intention of challenging the verdict of Julieta may have stemmed out from the fact that she has a teenage daughter who could possibly face a similar situation later on.
Further, you see the state machinery being activated around Deza too – a stranger handing over a letter to Deza’s son in the street, a random incident involving strangers hurling a stone at Deza’s house, the police officials not cooperating with the files of Julieta despite repeated attempts of Deza, and using religion as a shield wherein a character exclaims on how abortion is against Christianity. This, even as the POV stays firmly on Deza who finds herself jostling between lives. Here as a point of criticism, I would have liked the POV to also be on Julieta who was slightly side-lined. But that may have been a deliberate attempt at showcasing feminism being pushed towards an oblivion. In the same breath, perhaps the politics in the drama could have been a little more pronounced, even during phases of investigation that probably could have touched upon the corruption brewing in the system a little more.
The entire screenplay is designed as a rallying metaphor for feminism, even while you witness an actual band of women rallying for justice. The relevance of the title is all the more important as it blurs the boundaries and addresses the fact that there would be so many Julietas suffering out there – whilst having a criminal record just because she chose to abort their babies. I liked how the ‘anonymous’ rally coincided with the ‘anonynous personality’ of Julieta who was until then subjected to a witch hunt, the ones we see on television. It also wasn’t coincidental on how Deza stood up for her client on national television – on a show that had chosen to be frivolous with an important topic.
<span;>My only real issue remained with the resolution that felt a tad too simplistic for my liking. But at the same time, there is hope at the end of the tunnel when Julieta peeps out of the window of her vehicle at the end – she isn’t alone and that is the power of raising your voice and asking questions which is fast becoming a forgotten art. You never know when you maybe next on the hitlist of the system if you choose to stay silent!
Dialogues, Music & Direction
The dialogues are conversational often cut-through with subtle bouts of humour that don’t allow the narrative to be preachy or weighed down. The BGM is sparingly used too, often allowing the sombre ambience of the drama to suck you into the proceedings. The cinematography comprises of frames that will keep you connected with the characters. And the colour design remains muted, a creative decision that beautifully represents the muted battle of feminism against patriarchy. The editing pattern is leisurely while only cutting away at instances that represent the decaying emotional psyche of a particular character. Director Dolores Fonzi tackles the inherent theme of feminism with intrinsic detail, almost creating a connective tissue between her two protagonists. This, while keeping the politics in the background, and focusing on the whereabouts of her characters. Yes, there are a few rough edges with the narrative style – at times with the POV and the simplistic ending, but this remains an important film which is handled delicately and with utmost sensitivity by the filmmaker. And needless to say, the feminist gaze is pretty evident – something that remains a key cog in the narrative (and rightly so).
Performances
The performances are wonderful by the members of the cast. Cesar Troncosa as Alfonso is sincere and earnest in a good job done. Luis Machin as Farina is subtly intimidating in a character that will deftly trigger you, and he does a good job too. Gaia Garibaldi as Flora has a nice little character arc to play with too – something that starts with having a difference of opinion with her mother to slowly standing up for her during a pivotal classroom scene. And she does a swell job here. Julieta Cardinali as Beatriz is well restrained despite grey shades to her character, and she has her moments to shine. Laura Paredes as Barbara is superb here while seamlessly contributing to the humour in the narrative, even while sticking to the non-conformist traits of her character.
Camila Plaate as Julieta remains beautifully understated while tapping into a range of emotions that add layers to her character. The steady decline of her mental health is reflected through a range of expressions and a haunting body language wherein Camila puts forth a commendable act. Dolores Fonzi as Soledad is exceptional too, being gently assertive through her mannerisms while that define the shifty nature of her emotions. Her balancing act has shades of commitment that drives her character, and Dolores brilliantly channels this energy through her performance.
Conclusion
Argentina’s Official Submission to the Oscars of 2026 (and in the Top 15), Belen is a hard-hitting feminist drama featuring stellar performances that makes for a pondering watch. Available on Amazon Prime.