Josephine

When eight-year-old Josephine (Mason Reeves) witnesses a rape in San Francisco’s Golden Gate Park early one Sunday morning, the horrifying event – depicted fully on screen at a slight distance – has understandable repercussions.

In writer-director Beth de Araujo’s devasting second film, the man who committed the vile act is almost immediately apprehended, partly thanks to Josephine’s quick-thinking and fast-running father Damien (Channing Tatum). The impact on victim Sandra and Josephine, however, is only beginning and, excluding short moments which bookend the story, the focus is on the latter.

Josephine, played by Reeves with a commitment and poise rarely seen in such a young actor in their first role, is justifiably troubled. She imagines the rapist lurking in her bedroom, all around her home and in the streets. With the encouragement of her dad she toughens up with self-defence classes and wins an arm-wrestle with a boy in her class, only to strangle him with a carrier bag after he pushes her ungraciously following his defeat. Josephine’s mother Claire (Gemma Chan) and Damien struggle to keep a lid on their daughter’s outbursts and sadness but show love, patience and care in a horrible situation which all three probably realise will traumatise her for life. 

As Josephine and her parents try to live with what she has witnessed and its consequences on her mental wellbeing and behaviour, the machinations of the American legal system grind frustratingly away in the background. Sandra returns to her home in Virginia and it becomes clear that there will be no conviction without Josephine’s testimony. The police, a lawyer, psychologists and her parents want Josephine to testify in court but getting her there is no easy task. 

It’s a difficult, harrowing watch about an important subject

A difficult and, at times, harrowing watch about an important subject, de Araújo’s unflinching eye and great care has a tonal precision the gravity of the events shown warrant. Although recent films tackling sexual assault such as Sorry, Baby have impressed, this piece has the severity of abortion drama Never Rarely Sometimes Always. 

Reeves is a remarkable find, too – all the more so given the unsettling nature of the material – while Chan’s portrayal of a doting but knowing mum has clear truth to it. Tatum, meanwhile offers a career-best turn as Damien. We never doubt his commitment to, or love for, Josephine and empathise with his decision-making as he guides his daughter through the most trying of times. It’s a sensitive performance that suits the urgent and acute film around it.

Josephine premiered at the Sundance Film Festival. Its release date is TBC.