I am Nevenka

Bollaín focuses her film not on the trial — which could be exciting from a lawyer’s perspective — but on the development of the abuse. As the protagonist goes through the stages of harassment, we see how a person is slowly and inexorably entangled by an abuser. At first, Ismael tries to seduce her by pretending an overwhelming love. “A gentleman is simply a patient wolf,” said Lana Turner. It doesn’t take long for this wolf to take out its fangs and show itself not only as a sexual predator but as a corrupt person, offering a better position and property in exchange for favors.

The face of Mireia Oriol, the protagonist, has great plasticity and reveals not only the change when she is being harassed but the transformation of her initial fragility into strength when she decides to report what is happening and bring her aggressor to trial. The fragmented narrative underlines this contrast frequently, making the audience wonder how Nevenka got to that state. The script frequently makes us notice that this is not a case against a boss, or even the owner of a company, but against a leader, who is practically the owner of the city and in charge of managing state funds.

Bollaín had already dealt with the subject of women survivors of aggression in Te doy mis ojos (I Give You My Eyes, 2003), where she paints an outstanding portrait of domestic violence; humanising the aggressor; she lets us hear his voice alongside that of his wife. Here she also brings us closer to Ismael, who is charming, a leader, beloved by everyone in town, including the victim’s parents, and who can mesmeraize a young woman on her first job. Nevenka projects an image of freshness and fragility that makes her more attractive to a predator. Bollaín directs the key harassment scenes with great sensitivity, with few details and very close shots, over which we hear the repulsive voice of the aggressor and the terrified and disgusted face of the protagonist.

Spanish society was not ready for #MeToo in 2000 and the entire country closed its doors to Nevenka Fernández after the trial; she did not find work and had to change countries. She remains a fighter because this film was made with her consent and cooperation.

Twenty-four years after the case, why make this film? Judging by the comments made at the San Sebastian press conference and the information distributed at the screening about how to contact a support center in case of abuse, it is not only pertinent, but necessary.