Inconceivable: the sexual abuse with feminist look




Our opinion:

very good

(Unbelievable, USA/2019).


Susannah Grant, Ayelet Waldman and Michael Chabon.


Merritt Wever, Toni Collette, Kaitlyn Dever.

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A girl of 18 years said he was attacked at gunpoint. He then said he invented it. So begins our story.” Inconceivable, the miniseries of eight chapters created by Susannah Grant, Ayelet Waldman and Michael Chabon sticks to the actual facts (victims ‘ testimonies are reproduced verbatim) narrated by the article “An Unbelievable Story of Rape”, by T. Christian Miller and Ken Armstrong, who won the Pulitzer in 2016, for which we dedicated the first episode entirely to the winds of the complaint -and withdrawal – Marie (an extraordinary Kaitlyn Dever), and how the system works when there is no gender policy to accompany the victims. Lisa Cholodenko directs the chapter with that sensitivity that we saw in My family, with close-ups of the face of Marie, a map of their blocked emotions, contained, buried.

In its second episode, the series slightly changes the tone, is brought forward in time (2011) and shows us the detective Karen Duvall (Merritt Wever, in one of the best performances of the year) by listening to other victim of a sexual assault that took place in Golden, Colorado. The script of Sussanah Grant evokes here the of Erin Brockovich (also his own), especially when it deals with how steadfast you can be a woman when you want to get to the truth for a greater good. Immediately, and by a fortuitous accident, the detective learns that he is looking to a rapist to serial, which leads her to partner with her colleague, Grace Rasmussen (Toni Collette) to find it.

In this way, Inconceivable becomes a drama with elements of the genre, buddy cop, with both women getting to know as they progress in the investigation, and with sequences of comic relief to soften the impact of the times testimonies, heart-rending since its verbalization, without the need of accompanying them with flashbacks free. That is precisely the decision narrative that take the creators of the series: what matters is the word.

The word of the victim, the word of a figure of containment, the word appease instead of harass. Therefore, if the production falters when they present false suspects of violations as a resource to keep the viewer interested in the whodunit, its relevance in the current juncture is achieved when portraying conversations between women talking as equals, tacitly understanding what’s doubly hard it is to move around in this world only by not being a man.