The story of a father willing to sacrifice anything and everything for the well‑being of his children is undoubtedly touching. The acting also elevates this family’s journey: John Magaro is very good as the father, but it is Molly Belle Wright who truly stands out as the older daughter, Ella. She captures perfectly the complexities of still being a child while, in many ways, having to act like an adult, yet struggling to remain empathetic towards her father’s situation, of which she seems acutely aware.

Unfortunately, the film is weighed down by too many conventional and detrimental elements. The first is the unnecessary exposition and over‑explanation, presented rather bluntly through the father’s conversations with his deceased wife. As already mentioned, the central trio deliver a splendid portrayal of their characters’ nuances and the tragic atmosphere surrounding them, making these sequences feel like a forced attempt to spell things out, as if the audience were incapable of piecing it together themselves.

Structurally and visually, the film is also quite uninspired. Instead of having the courage to truly explore the emotional synergies between the characters and the drama of their situation, it relies on a wide array of cheap plot devices to push the story forward (the letter, the kite, the dog, the zoo). Once one is resolved, the next conveniently appears. Visually, the film brings nothing new to the road‑movie genre, offering a series of shots, sequences, and framing choices that you have already seen in dozens of other films.

All of this culminates in an ending that lacks impact and emotional force. In truth, the most powerful moment arrives right at the beginning, when we see the family being forced out of their home.