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Holding the screen with thoughtful intensity, Bessa brings likeable intelligence to Hamid, a former literature professor who lost his wife and daughter in a bombing. He has regular FaceTime calls with his mother (El Till), who fled to a refugee camp in Lebanon. Her health issues weigh heavily on his mind. Most of his conversations are whispered and tense, so his offhanded interaction with the magnetic Barhom's Harfaz carries a proper kick as it traces the situation on a larger scale with underlying textures.

There's a steady stream of references to personal experiences from the Syrians conflict, including horrific prison treatment and the day-to-day issues faced by exiles. These things are neither exaggerated nor used for shock value, as it were; they layer in unexpected emotional resonance. Harfaz says you can't start anew if you dwell on the past, but Hamid understands that it's impossible to move forward without confronting the darkness. And larger questions about justice hover throughout the film in visceral, haunting ways.

themes, language, violence

10.Sep.25

The actors evoke adolescent exuberance and strong camaraderie. Kurihara and Hidaka create an unusual physical, verbal and emotional shorthand to vividly depict the life-long friendship between Yuta and Kuo. It's riveting to watch, and it extends to their classmates, especially when they unite to take a stand, even though some don't believe it will change anything. So while the film feels like it is infused with youthful optimism, there is actually something much more provocative going on here.

At the centre is the fact that Kuo, who works in his family's cafe and has lived here his whole life, is not Japanese. So Kuo is regularly harassed by police, and Yota understands that he needs to help however he can. Other friends have similar issues regarding nationality, financial stability and security, and all are at risk due to crackdowns both at school and across the nation. These ideas are gently woven through the narrative, creating an engaging atmosphere while also nudging us to think about the truth.

themes, language

27.Aug.25

Wing and Jon think they have the moral high ground, but both are distinctly transgressive. Pak plays Wing as a man acting the fool, casually disruptive and almost menacing as he quizzes and gloats. Much more contained, Kwan's Jon goes from quietly egotistical to churning desperation and rage, barely holding himself together as truths emerge, pushing him into a corner. As Amy, Lee is more thoughtful, in control of her narrative.

All three have trouble discussing these enormously emotive ideas, and their dialog unfolds in such a complex way that our minds are spinning as well. Each of them has various moments to be in charge of what is being said, while the others squirm in their feelings of confusion and humiliation, all hinging on how point of view changes from a teen to a young adult. The quiet cruelty that emerges through their words induces a vivid chill. And where this goes is provocative and important.

themes, language, violence

11.Sep.25