The construction of the documentary around Mia Farrow is where the problem lies. We just hear her version seen from the opening titles, more apt for fictional drama, featuring an elegant doll house. Farrow, her “home within a home”, was probably bought and decorated by a doll’s house. From then on she directs the reporting, and it is never reviewed.
The Soon-Yi story provides context, but there’s no real sense of how toxic the atmosphere was – Farrow discovered prominent Soro-Yi Polaroids in Allen’s apartment just a few months before the make allegations of sexual abuse.
Allen ‘s camp claims that Farrow was so angry that she coached Dylan into her confession (which Farrow denies). Dylan’s supportive sisters appear on screen; Her brother Moses, who supports Allen against Farrow, declined to participate.
Allen is represented here through his 2020 memoir audiobook, Apropos of Nothing. He denies the allegations and has dismissed this documentary as a “shoddy hit”. It’s better than that. But the filmmakers have chosen their side.