Prima Facie – Film Review

Director – Susanna White
Writer – Suzie Miller
Stars – Cynthia Erivo, Daniel Ings, Harry Treadaway

Prima facie is a Latin phrase meaning “at first sight”, “on the face of it”, or “based on first impression”

This is a new film, based on the play of the same name by Australian playwright and lawyer Suzie Miller. The work was originally a one-woman play. It was performed at the Gaiety Theatre, Dublin, in January this year by Jodie Comer, who won both Olivier and Tony Awards for her performance in the role.

The film has expanded the world of the play, with Cynthia Erivo playing Tessa Ensler, a defence barrister who deals with a variety of cases, including defending those accused of rape and sexual assault. She is a success story who, despite her humble background, went to Cambridge on a scholarship. She is now at the top of her game and has been nominated as Best Young Barrister. She works alongside Julian Brooks (Daniel Ings), another defence lawyer who comes from a well-to-do family, with his father being a judge. The two begin a relationship, and things seem to be going well between them. They spend time together until the unthinkable happens and Tessa is raped. She now finds herself on the opposite side of the legal system and fights for justice.

This is quite a step for Cynthia Erivo, who many will know from the film versions of Wicked, in which she starred alongside Ariana Grande. This demanding role showcases her talent as an actress.

The film has introduced other members of Tessa’s family, with her mother June played by Noma Dumezweni. Their complex mother-daughter relationship is worthy of a film in its own right. Tessa’s brother Johnny (Toheeb Jimoh) and his family allow Erivo to show a more compassionate side of Tessa’s character. However, some of Tessa’s work friends come across as slightly two-dimensional and are never fully developed.

In the same week that Russell Brand was sentenced for his crimes, this work highlights how difficult it is to secure a conviction for rape or sexual assault, with the vast majority of cases going unreported. Much of the film’s complexity lies in Suzie Miller’s screenplay, which explores the methods defence barristers use to get their clients off. We see the techniques they employ to introduce ambiguity into testimony and subtly influence the opinions of the jury.

While not as commanding as the play it’s based on, it does explore the failings of the legal system in dealing with crimes of a sexual nature. It’s a very serious topic, and the film does it justice. It’s unlikely to be a film that will draw large crowds to the multiplex, but it’s a powerfully written piece. Cynthia Erivo carries the film with an intense performance.