Led by a phenomenal performance by Cynthia Erivo as the brilliant criminal defence barrister, Tessa Ensler, Susanna White’s Prima Facie is a well-crafted court-room drama that isn’t covert in exposing weaknesses in the British legal system. Based on a play of the same name, White’s film is a harrowing assessment of the failures of UK laws and courts when it comes to cases of sexual assault, and the effects these failures have on the survivors.
Following Tessa as she effortlessly moves through the legal world at one of London’s oldest courts, her talents are always on display for us to see. She approaches trials with strategy, carefully plotting every move and waiting for an opportunity to go for the win. She gradually develops a relationship with her colleague Julian Brooks (Daniel Ings), a relationship that is swiftly shattered when Julian sexually assaults Tessa after a date. Feeling disturbed, betrayed and determined to ensure her abuser is punished adequately, Tessa decides to go public with the case. Forcing her to re-evaluate her faith in the entire legal system.
The film takes a while to fully get into a concrete rhythm. Several moments feel disjointed in relation to the rest of the film’s narrative and the first act bounces between different genres and styles which are effective in showing the juxtaposition of Tessa’s professional and domestic lives but are unconvincing in their execution. However, when the film does find its feet it flows so steadily. The film’s most significant sequence being a tense, suffocating court room battle where Tessa tries to convince a jury that Julian is guilty. Writer Suzi Miller’s powerful dialogue works in tandem with Erivo’s performance make for one of the most poignant and important scenes in the film.
It is difficult to ignore the film’s shortcomings. The cinematography doesn’t make full use of its resources, missing the opportunity to capture the courts and London as a whole in a creative way. The repetitive heartbeat sound effect is overused and is a distraction from some of the film’s most important moments. The music choices are a strong insight into Tessa’s personality but they’re cued in very abruptly which breaks the film’s narrative consistency.
Prima Facie is a strong film that does a great job at what it sets out to and Erivo’s powerful, dynamic performance does enough to illustrate its message on the legal system’s failure of survivors of sexual assault, but you can’t help but wonder whether the film misses the mark on a lot of its technical and creative aspects. Resulting in a film that is good, but unfortunately never really reaches its potential.