Phil Roberts 
Prima Facie is a gritty, powerful drama that ultimately pulls its punches when it matters most. Despite having such an important platform, it never quite capitalizes on the opportunity to make its voice heard as forcefully as it should.
The rape drama genre has gained renewed prominence in the wake of the #MeToo movement. Despite 1980s classics such as The Accused shining a much-needed spotlight on the subject, rape culture continues to persist throughout society, with devastating consequences for victims at every level. Although The Accused remains a brutally chilling piece of cinema, its Hollywood gloss occasionally softens the harsh realities of its subject matter. As a result, some of its more difficult themes never quite escape the conventions of mainstream melodrama.
Fast-forward to 2026, and a new contender has arrived to tackle the subject head-on in the form of Prima Facie. Led by the formidable Cynthia Erivo, this harrowing story once again brings the crime of rape into the courtroom. But this time, there’s a fascinating twist: the prosecutor becomes the victim, forcing her to confront the very legal system she once represented from an entirely different perspective.
But can Prima Facie, bolstered by Erivo’s extraordinary portrayal of a lawyer forced to experience the law from both sides of the courtroom, deliver the unfiltered, unvarnished truth about one of society’s most devastating crimes? Or is this a case that should have remained locked inside the courtroom?
REVIEW
Sadly, film fans, Susanna White’s Prima Facie is a gritty, powerful drama that ultimately pulls its punches when it matters most. Cynthia Erivo commands the screen as a rape survivor, delivering a deeply wounded performance that adds layer upon layer of emotional complexity to this gripping courtroom drama. However, the finished film lacks the clout needed to drive home its serious, resonant, and painfully timely message. Despite having such an important platform, it never quite capitalizes on the opportunity to make its voice heard as forcefully as it should.
Ultimately, Prima Facie is a compelling, carefully measured drama, anchored by Erivo’s harrowing portrayal of a woman whose world is turned upside down. Yet, despite the strength of its subject matter and its leading performance, the film lacks the conviction to go that extra mile and deliver a truly devastating cinematic experience. It’s undoubtedly a significant step forward for the genre, but without that much-needed knockout blow, this remains a somewhat restrained and safe exploration of a subject that deserves far greater urgency and impact.
CYNTHIA ERIVO
A film carrying this much emotional weight needs a sensational leading performance, and Cynthia Erivo is more than up to the task. Adapted from Suzie Miller’s acclaimed stage play, Prima Facie has a formidable predecessor to live up to, and Erivo clearly understands the responsibility. Not only does she take center stage as Tessa Ensler, but she also serves as an executive producer, demonstrating a personal investment in bringing this powerful story to the screen. That dedication shines through in a gripping performance that commands our attention from the outset.
Initially, Tessa is presented as a formidable force: a confident, ambitious young barrister determined to challenge the male-dominated world of criminal law and establish herself as one of Britain’s brightest legal prospects. Her trailblazing approach soon catches the attention of some of the country’s leading legal minds, and before long, lucrative job offers begin rolling in, much to the delight of those around her. While the men in her office seem to adore her, her female colleagues are less enthusiastic, feeling increasingly threatened by her success and lamenting that their workloads have dwindled since her arrival. Thankfully, this simmering workplace jealousy never becomes a major distraction, but these smaller character dynamics add another layer of workplace tension and ground the drama in a recognizable sense of professional rivalry.
SEXUAL CONDUCT
As her professional success grows, she draws more attention from the men in her orbit, and before long, Daniel Ings’ Julian Brooks, a fellow barrister, begins to take a romantic interest in her. The attraction is mutual, with Tessa’s inner monologue offering the audience an intimate window into her passions, desires, and insecurities. She craves his affection and relishes his attention, and before long, the pair embark on a whirlwind romance. At first, everything seems idyllic, with romantic dinners, dancing, and all the trappings of a blossoming long-term relationship. But one fateful evening, after purchasing some rather seductive underwear, their fairytale romance takes a devastating turn.
Sadly, this is where the film’s lack of conviction begins to show, slipping into an uncomfortable grey area from which it never quite recovers. After an evening of fun and flirtation, the pair return to Tessa’s apartment carrying two bottles of wine, and their night quickly descends into a passionate embrace. But the mood soon changes when Tessa begins to feel unwell. The film leaves us to question whether Julian drugged her wine, but never establishes the circumstances with enough clarity. As a result, Julian is framed as the villain of the piece without the narrative groundwork needed to make that judgment feel entirely convincing. For a film tackling such a devastating and deeply sensitive subject, this lack of clarity is a major weakness, undermining the story’s impact at the moment it needs to be most powerful.
GRIPPING DRAMA
Nevertheless, the story continues with Tessa leaving the bedroom, rushing to the bathroom to vomit before collapsing to the floor. Some time later, Julian realizes she is missing and discovers her lethargic but conscious, complaining of feeling unwell. Initially appearing to be the caring boyfriend, he gathers her into his arms and carries her back to bed. But within moments, his concern gives way to something far more sinister as he makes a sexual advance. Tessa immediately rebuffs him, firmly telling him no and reminding him that she is unwell. But Julian refuses to listen. He restrains her arms, covers her mouth, and rapes her. As the terror sets in, the film becomes horrifyingly real, forcing us to witness Tessa’s helplessness as the assault unfolds. It is deeply unsettling viewing, but an essential and uncompromising moment that brings the devastating reality of her experience into sharp focus.
From here, Prima Facie settles into an intimate character study, following Tessa as her carefully constructed world begins to unravel in the aftermath of the assault. Facing a deeply divided response from her colleagues, she is forced to confront not only the trauma of what happened but also the attitudes and prejudices that can compound a victim’s suffering. Some rally around her, offering support and compassion, while others struggle to reconcile the allegations with their previously favorable opinion of Julian. The man they once admired can seemingly do no wrong, and suddenly Tessa finds herself under scrutiny. Battle lines are drawn, loyalties are tested, and the victim is left carrying an entirely undeserved stigma. It’s a brutal illustration of the realities survivors can face when seeking justice, and one of the film’s most troubling and resonant themes.
INTO THE COURTROOM
Once the film moves into the rape trial, it shifts gear and doubles down on Tessa’s perspective as the defense attorney attempts to portray her as a willing participant. It’s a harrowing watch, once again accompanied by Erivo’s inner commentary as Tessa urges herself to remain strong, fight back, and refuse to let the opposition construct such an unjust picture of her. The duality of the situation is palpable, and the film makes a concerted effort to explore the case from both sides of the legal divide. It’s a refreshing approach that offers plenty of food for thought. Sadly, however, the material lacks the depth and conviction needed to make this exploration truly meaningful.
Despite witnessing the assault, the murky circumstances surrounding the events leading up to it leave the audience wrestling with questions about the extent of Julian’s guilt. There is no question that he committed the rape, but was his behavior premeditated? The film never provides a satisfactory sense of resolution, leaving us to question the significance of what came before and how it informs everything that follows. Perhaps this uncertainty is deliberate, reflecting the uncomfortable realities of the justice system and the difficulties victims face when seeking accountability. But much like the jury, the audience is ultimately left with more questions than answers. And while that may be an interesting narrative choice, it comes at the expense of the emotional clarity the story desperately needs.
VERDICT
Despite Erivo’s extraordinary performance, Prima Facie drifts toward an underwhelming conclusion without ever fully committing to its own message. Beyond the initial shock and horror of the assault, the remainder of the film struggles to convey the full emotional devastation of what Tessa has endured. Erivo does an admirable job of communicating her character’s trauma, while Daniel Ings makes the most of the material he is given. But without greater insight into Julian’s motivations and the nature of his culpability, the character never develops into the fully realized antagonist the story needs. Again, perhaps this ambiguity is intentional, given the film’s interest in the grey areas surrounding sexual assault and the legal system. But there is a difference between leaving room for interpretation and leaving the audience without a meaningful emotional anchor. Unfortunately, Prima Facie falls into the latter trap, and that is ultimately its biggest failing.
While Prima Facie may not rival the greatness of The Accused, you cannot help but marvel at Cynthia Erivo’s extraordinary performance. She is the film’s beating heart, delivering a powerful, deeply affecting portrayal that deserves to be seen. Her work alone is worth the price of admission, so book a ticket and experience her brilliance firsthand. Erivo is sensational, even if the film around her doesn’t quite hit the mark.
Prima Facie brings the courtroom drama to cinemas on November 13th.
Meet Phil Roberts! He’s the dedicated owner, daily content manager, and editor-in-chief of The Future of the Force. Phil is a budding novelist who turned his passion toward writing about the franchises he loves back in 2016. He’s a huge fan of all things Star Wars, Batman, DC, Marvel, Star Trek, Indiana Jones, Ghostbusters, King Kong, and the Ray Harryhausen movies. Phil is a BFI-accredited journalist and a distinguished member of the Film Critics Association UK.
If he’s not catching a movie at the cinema, you can bet he’s streaming something just as awesome!
