Dir: Beth de Araujo
Cast: Channing Tatum, Gemma Chan, Mason Reeves
Opening with an unflinching depiction of sexual violence sets the tone for this well-crafted yet shattering drama-thriller, with young newcomer Mason Reeves delivering a powerful portrayal of childhood trauma and the loss of innocence
At this year’s BFI London Film Festival, which I attended sporadically between the 7th and the 18th of October, I caught six UK premieres. While the likes of “Elsinore” and “La Bola Negra” bravely tackle weighty, sensitive themes, nothing could have braced me for the emotional force of Beth de Araujo‘s drama-thriller “Josephine”. Few filmmakers dare to confront the aftermath of sexual violence with such unflinching honesty, refusing to shield the audience from its impact. Drawing deeply from her own childhood and trauma, the Brazilian-American director crafts a psychological drama so raw and empathetic that, as extraordinary as it is, I am not sure I could endure it a second time.
Long before its UK premiere, I was already swept up in the excitement after its breakout debut at the 2026 Sundance Film Festival in January. The film was awarded both the Grand Jury Prize and the Audience Award at the celebrated American indie gathering, leading Sumerian Pictures to secure US distribution rights and Curzon Artificial Eye to bring it to UK audiences in a limited release next month. Despite having released her first feature film, “Soft & Quiet” in 2022, de Araujo had actually first written the script for “Josephine” back in 2018, pouring her own experiences into what she hoped would become her debut feature, a project rooted in a story that clearly resonated with her on a personal level. Eight years ago, Sundance recognized her talent by inviting her to their screenwriting and directing labs. Before principal photography began in 2024, de Araujo and her film collected a string of grants and fellowships, with the San Francisco Film Commission lending its support during the shoot.
For the central family of three, de Araujo and her casting team made the unusual decision to cast the parents first. Gemma Chan signed on as early as 2019, before the pandemic put the project on hold. Channing Tatum joined in 2024, with both stars also stepping in as producers. Yet the true revelation was newcomer Mason Reeves as their on-screen daughter, Josephine. Finding a talented child actor is notoriously difficult, especially when searching for an eight-year-old who could plausibly be the child of Chan and Tatum. By a stroke of luck, de Araujo discovered Reeves at a Farmers Market, and the young debutante has proven to be an absolute gem.
The film wastes no time setting its harrowing tone and high stakes. Reeves’ eight-year-old Josephine joins her father, Damien (Tatum), for their weekly early-morning jog through San Francisco’s iconic Golden Gate Park. Bursting with energy and competitive spirit, Josephine sprints ahead, soon losing herself in the park’s vast, wooded maze. Alone, she witnesses a female jogger enter a public restroom, followed moments later by a menacing male figure. What follows is a relentless, unblinking sequence that compels the audience to witness a disturbingly realistic act of sexual assault, with the innocent and bewildered Josephine watching from her hidden vantage point behind a tree.
Damien arrives just in time to drive off the attacker, but the psychological scars are already etched. Rather than centering on the female victim—one among countless survivors—the film turns its gaze to Josephine, whose innocence is shattered in an instant. Her confusion and inner turmoil spill over at school, and she becomes haunted by visions of the attacker even in the supposed safety of her home. Meanwhile, her parents, Damien and Claire (Chan), grapple with how to protect and educate their daughter about the world’s dangers without overwhelming her with fear.
Before recommending “Josephine” when it arrives in cinemas next month, I must caution that it could be deeply triggering for some viewers. In a world where so many have felt the shadow of sexual violence, witnessing such a brutal act rendered with stark realism may be overwhelming. Yet de Araujo masterfully confronts this pervasive issue without resorting to sensationalism or the exploitative tropes that have marred past depictions. Her direction and script avoid melodrama, opting instead for a thoughtful, psychological exploration of Josephine’s mind. The camera often lingers at Josephine’s height, drawing us into her perspective, and frequently shifts to her point of view as she faces questioning from parents, lawyers, and authorities. The relentless pressure from officials to recount her trauma again and again is depicted with heartbreaking clarity, all in the hope of bringing the perpetrator to justice and protecting future victims.
The aftershocks of Josephine’s trauma ripple through her family, weighing heavily on her parents. Gemma Chan and Channing Tatum deliver convincing, heartfelt performances as they offer conflicting advice and comfort to their daughter. Tatum, known for his comedic charm, proves his dramatic range here, building on recent, bolder roles like the titular “Roofman” in Derek Cianfrance‘s 2025 crime caper. As Damien, he shows protective instinct, convinced that enrolling Josephine in self-defence classes and reassuring her that nothing like this will ever happen again is the best path forward. This makes Josephine’s gradual withdrawal from him all the more devastating, as she begins to lose trust in all the men in her life, even her father and unborn baby brother.
In contrast, Chan’s portrayal of the more cerebral mother, Claire, reveals a belief that shielding Josephine too much could leave her naïve and exposed to real-world dangers, especially the ever-present threat of sexual violence. Whether Claire herself has been a victim remains ambiguous; her pained and evasive response to Josephine’s questioning hints at a troubled past in one of the film’s most heart-wrenching scenes. This complexity drives her to advocate for psychiatric help for Josephine, knowing that testifying in the looming legal battle will force her daughter to face her trauma in the harshest spotlight.
The philosophical divide between Damien and Claire only intensifies the family’s turmoil, and both Chan and Tatum rise to the occasion with compelling performances. Yet Mason Reeves truly commands the film. The young actress delivers a performance of astonishing depth and nuance, handling dialogue and emotions far beyond her years. I trust that careful safeguarding was in place to protect Reeves from the emotional weight of her role, especially given de Araujo’s personal connection to the story.
Though “Josephine” is often harrowing and difficult to watch, the performances and de Araujo’s masterful direction combine to create a work of urgent, melancholic cinema. The film is a stark reminder of the dangers that lurk even in seemingly safe places, and of the lingering fear that shadows so many lives. By viewing the world through a child’s eyes, the film’s message lands with even greater force, urging us to empathize with victims of sexual violence and to hope that such horrors never touch us or those we love.
Josephine is showing in UK Cinemas from 20th November
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