Maite Alberdi’s ‘A Child of My Own’ presents a months-long con in a docudrama built around pregnancy deception

Maite Alberdi’s new film, “A Child of My Own,” takes a premise drawn from true-crime territory and frames it as an intimate, nine-month unfolding, according to a review published by The Guardian on August 5, 2026. The picture centers on a woman, Eleonor Alejandra Marín, whose pregnancy becomes the focus of escalating pressure from family members as her story is reshaped through what the review describes as a “long con” variation.

The Guardian characterizes the film as a docudrama, emphasizing that it blends realism with a recreation-style approach. The review describes the movie’s visual and tonal choices as strikingly bright and “candy-coloured” even as the narrative aims at revelations that grow darker over time. That contrast, the review suggests, is part of how the film keeps the audience in motion while the underlying claims become harder to reconcile.

At the center of the drama is a pregnancy narrative that unravels, with the review pointing to the pressures surrounding attempts to have a child. The plot is described as developing against the backdrop of three miscarriages, and the film depicts how demands from a husband and in-laws push the central character toward an escalating performance of certainty about her condition.

The film’s structure is presented in the review as precise in its duration: “nine months.” Rather than treating the deception as a quick twist, it is staged as a sustained process in which conversations, expectations, and private doubt accumulate until the narrative turns toward what the review calls dark truths revealed through the course of the story.

The Guardian’s review also frames the film as “cheekily inquisitive,” an approach that plays against the subject matter’s seriousness. The tone, in this telling, does not eliminate the threat that the premise poses to those around the central character. Instead, it heightens the tension between what is shown, what is believed, and what people choose to accept as normal as the months pass.

Because the item provided is a critical review and not a festival catalog or studio release, details such as premiere venue, distribution plans, release dates, and casting beyond the central character are not confirmed in the supplied record. Readers who need those specifics would need additional documentation from the studio or the film’s official distribution and press materials.

Still, the review’s account makes clear what audiences may take from the film even without those logistics: a docudrama built around sustained deception, family pressure, and the way private claims can be treated as reality by surrounding institutions and relationships. The story’s focus on pregnancy as both symbol and mechanism places the family dynamic at the center of the tension, while the recreation style sets up a visual rhythm that changes what viewers notice as the narrative progresses.

For viewers and for those tracking international cinema coverage, the release also indicates a continuing pathway for Chilean filmmaker Maite Alberdi, whose name is attached to a production described as intimate and investigative. The Guardian review positions “A Child of My Own” as a work that uses time, tone, and recreated scenes to test how an audience interprets credibility, especially when the topic involves family-building and medical vulnerability. The next step for readers is to cross-check the film’s official credits and release plans through the filmmakers’ or distributors’ published materials.