Reseñas de la crítica

There's a morally rigorous sensibility at work in Harrower's drama, in which Ray emerges as a weak, vacillating prevaricator, still deluding himself that he, too, fell in love and did little harm. Mara makes us see the powerfully impressive adult Una might have become instead of the child-woman she may remain, eternally waiting to be sprung from her prison. She's a truly tragic figure; he is merely pitiful.

The film, like the play, ends with a taste of psychological abuse, leaving you feeling something like the 13-year-old or 28-year-old Una, unsure if you’ve been lied to or told the truth by a man you want to trust. Clues throughout, in the text and the performances, suggest either, which means you can never really know for sure—providing a devastating glimpse into the epistemological horror of Una’s life.

The core of the play remains intact, and thankfully Mara and Mendelsohn skillfully bring these characters to shattering, heartbreaking life.