‘Prima Facie’ review: Cynthia Erivo headlines an underwhelming screen adaptation of a one-woman play

What this film is

The film premiered at the Toronto International Film Festival as a Gala Presentation and is scheduled to play at the BFI London Film Festival.

The central problem

The adaptation aims to expand the play for the screen but strips away the concision and moral complexity that gave the stage version its power. Miller and White rework material without finding new thematic depth. Key scenes and psychological beats that once carried weight on stage are either cut or presented in a way that tells the audience what to feel rather than showing it.

Performance and casting

Cynthia Erivo anchors the film. Her portrayal of Tessa — a barrister who routinely defends men accused of sexual assault and then becomes a complainant herself — provides the film's main force. Reviewers note Erivo's star power will court buyers and viewers drawn to a centered, politicized female lead.

Supporting performances mentioned in the context include Noma Dumezweni as Tessa's mother, Toheeb Jimoh as her brother, and Daniel Ings as Julian.

Writing and character logic

Direction and technical approach

Director Susanna White leans on close-ups and a tight, intrusive camera in cross-examination scenes. DoP Mike Eley focuses on Tessa's physical response to trauma in some sequences, sometimes prioritizing external reaction over internal emotional work. Editing choices and the heavy-handed monologue undermined dramatic tension for at least one reviewer, who felt the film explained rather than earned emotional beats.

Commercial and industry notes

Production companies on the project include Bunya Productions, Embankment Films, Edith's Daughter, Minderoo Pictures, and Camelback Productions. Embankment Films is handling international sales. Despite critical reservations, Erivo's involvement and the film's topical subject matter make it commercially and buyer-friendly at festivals.

Bottom line

Prima Facie presents a timely subject and a compelling lead performance, but the stage-to-screen adaptation flattens complexity through on-the-nose writing and literalized devices. The film may find an audience because of its star and subject, but it falls short of the dramatic subtlety that made the play resonant.