Belén powerfully tackles the politics of abortion and bodily autonomy in Argentina, revealing how women facing economic hardship are disproportionately targeted by institutional systems.
Belén, directed by Argentine actress and filmmaker Dolores Fonzi, portrays one of Argentina’s most challenging real-life legal cases. Selected as Argentina’s entry for the upcoming Oscars, the movie exemplifies the country’s tradition of politically engaged cinema, emphasising the fight for and importance of reproductive rights.
The film follows the real-life case of a young woman from Tucumán who, in 2014, arrived at a hospital experiencing severe abdominal pain and later suffered a miscarriage. Instead of receiving medical care, she is accused of inducing an abortion and charged with homicide, despite the absence of conclusive medical evidence. She receives little legal support and spends more than two years in pre-trial detention, where she experiences violence and mistreatment. Belén’s situation only begins to shift when a feminist lawyer and activist takes on her case and brings it into the public domain.
Yet, when the case moves to the public sphere she decides to staty anonymous under the name “Belén”, a pseudonym that reflects the need to protect her identity. The film highlights her working-class background and her fear that revealing her identity could jeopardise her family’s employment in a socially conservative environment.
Furthermore, the film uses this individual case to shed light on the rise of the grassroots movement known as the Green Wave (Marea Verde) in Argentina. Although it focuses primarily on the legal dimension, it also illustrates how public demonstrations and strategic use of media were essential in bringing wider attention to the case and amplifying its impact. In Belen’s case her lawyer’s commitment, the journalist’s investigative work, and the steady mobilisation of support networks show how action across different fronts can drive meaningful change. Through legal advocacy, public engagement and feminist organising, what begins as an isolated struggle evolves into a collective force. This growing momentum shows the dynamism that ultimately helped secure legal access to abortion and shaped Argentina’s landmark reform on reproductive rights in 2020.
What also stands out in the film is the portrayal of feminist friendships, captured through moments of humour and quiet intimacy that show what supportive relationships can look like. Belén’s lawyer is backed by a close group of allies who help her bring the case into the public realm, despite the risks to her professional reputation and personal safety in a climate where opposition to abortion rights remains deeply rooted. During periods of pressure and public hostility, the backing she receives from her family and friends gives tangible meaning to the slogan “you will never walk alone”. The film does not shy away from showing the emotional strain, including the lawyer’s fear for her children as she becomes the target of attacks.
Ultimately, Belén is a must-see for those interested in social movements, reproductive rights, feminism or contemporary Latin American history. Its emotional depth strengthens the film’s central message, showing that justice is pursued not only through public resistance but also through care. By tracing how an individual struggle becomes a catalyst for collective mobilisation, the film demonstrates that persistence and shared commitment can drive political change, even in the face of institutional resistance.
Begum Zorlu