The beginning premise of “A Woman Captured” is remarkably simple: Bernadett Tuza-Ritter seems to be sketching a portrait of Marish, who works as a maid for a middle-class Hungarian family, in a few observational touches depicting the starkness of everyday life. As we delve deeper into her world, our perspective changes and we realise that what we are witnessing is in fact process of demystification, exposing a reality almost unimaginable in today’s society: modern slavery. Not only does Marish not receive any kind of compensation for the time and effort she dedicates to the family she serves, but her dignity is also put to the test through multiple humiliations, beatings and even a vicious case of blackmail. Yet more striking is how little the director’s examination resembles a journalistic intrusion into personal intimacy boundaries: she shoots the film with the mistress’s full consent (who in fact agrees to this for a price), while the relationship between the subject and the person behind the camera deepens and develops into a complicity whose ultimate goal is to free Marish from tyranny. (Andreea Chiper)