Diary of a Woman' Review: A Journey Through Loneliness, Crisis and Selfhood

Marcel Schneider’s Performance Anchors the Story

The film finds its emotional weight in Marcel Schneider’s portrayal of Alex. Playing a role that demands exposure to pain, vulnerability, and contradiction, Schneider never once falters.

His interpretation captures both the moments of freedom that Alexa brings and the weight of isolation that follows. It is a performance that not only drives the narrative but also keeps the viewer tethered through the film’s slower passages.

The supporting cast, Olga Dinnikova, Florence Matousek, and Jürg Plüss, contribute valuable presence. While the story is undeniably centered on Alex, these characters enrich the film’s texture.

Their restrained performances help shape the spaces around Alex and Alexa, allowing Schneider’s portrayal to stand out while never leaving him adrift.

Direction, Atmosphere, and the Mockumentary Layer

Simon Aeby’s directorial choices are central to why Diary of a Woman lingers after the credits. The first forty minutes can test patience, as the narrative progression is minimal and the atmosphere consistently heavy.

Yet this slowness is not accidental. It forces the audience to share the discomfort of Alex’s existence, making later developments more impactful.

One particularly smart choice is the inclusion of Laura, presented in a mockumentary style. Her perspective provides an external lens on Alex’s transformation into Alexa. It breaks the monotony of the insular narrative and widens the frame of understanding.

This duality of perspectives, internal and external, gives the film a layer of nuance that elevates it beyond a straightforward character study.

A Screenplay That Cuts Deep

The screenplay holds a quiet sharpness. Rather than driving with action or major twists, it works through moments that expose thought and emotion.

The dialogue, sparse but carefully weighted, lands with impact. Several exchanges are likely to echo in viewers’ minds long after.

There is a deliberate attempt here to frame existential crisis not as an abstract theme but as lived reality. By keeping the writing intimate and unembellished, the film builds an atmosphere where every word spoken feels consequential.

It also makes the audience complicit in Alex’s unease, often unsure whether to empathize, judge, or withdraw.

Strengths, Limitations, and Lasting Impressions

The film is far from seamless. Its pace can feel punishing, and its bleak tone risks alienating viewers who expect more immediate engagement. At times the narrative drags enough that one could be tempted to disengage. Yet this very quality also makes the moments of transition and release far more resonant.

The production’s strongest element lies in how story and performance converge. Marcel Schneider does not simply act out Alex’s turmoil, he embodies it, making the discomfort both real and inescapable. Simon Aeby’s approach as director is unflinching, his craft visible in the film’s ability to provoke and disturb.

Diary of a Woman does not tie everything into a satisfying resolution. Instead, it leaves viewers with questions that are meant to fester. The climax is especially pivotal, but its strength lies in refusing to offer comfort. Rather than neat closure, it provides confrontation, forcing us to consider identity, trauma, and survival without the shield of easy answers.