The pen is mightier than the sword, as the immortal phrase by Cardinal Richelieu in Edward Bulwer-Lytton’s play suggests. The same applies to cinema; the power of ideas within cinematic storytelling has a more lasting impact than most mass media. Scarlet Girls (2026) by Paula Cury Melo knows how to wield this weapon to take a firm stance on a polarizing issue. One may agree or disagree with the film’s perspective, but its construction of discourse is powerful and addresses a sensitive topic with rigor and depth.

This is Paula Cury Melo’s first feature-length film, but it is not the first time she has addressed the issue of teenage and child pregnancy in her native Dominican Republic. In 2018, she released the short film Adrift, where she began portraying this difficult reality through the eyes of the women who experience it. With Scarlet Girls, the narrative expands in scale and delves more deeply into anti-abortion laws in the Dominican Republic.

The screenplay by Paula Cury Melo and Claudia Galeano is built in the first person. Through the testimonies of several women, a powerful narrative arc is gradually constructed. Visually, the documentary projects a devastating intensity. Nana Báez’s cinematography is outstanding, and her close-ups seem to pierce the soul. Alejandro Karo’s musical score blends perfectly with long, measured shots that invite deep reflection. The film finds its true strength in its visual compositions and symbolism. The contrasts are another narrative element used effectively to reinforce the discourse.

Scarlet Girls forces us to closely examine an uncomfortable reality. There are no easy answers here; the film opens a conversation that transcends neighborhoods, towns, and cities across the Dominican Republic. The documentary plants questions until it becomes an act of resistance. Its impact comes from its ability to tell a story without imposing itself, making the closing credits feel like the true starting point of a debate that continues long after the screen fades to black.