Besides some visual attractiveness as the attention put into the framing of the shots is clearly perceived, especially in those that try to create symmetries, the film never succeeds in fully grabbing your attention.
The pretended character study of the transexual Kristina falls short as the various themes (sexuality, religion, identity, and social acceptance) feel underdeveloped.
Escaping the hell of ISIS captivity may not lead you to paradise if you are a Yazidi mother.
This pseudo road movie documentary splendidly shows the personal struggle of “Ana” while also inserting the reality of other Yazidi mothers and their children in the heart of their communities, refugee camps and orphanages.
Extremely tough but with a message full of hope underneath.
A part from Carla Quílez’s amazing performance, the true highlight of the movie is the naturalism of the conversations and dialogues.
Nevertheless, on the other end of Pilar Palomero’s choice of using non-professional actors, and real-life teenage mothers that give this verisimilitude, we find the more fiction part of the plot, which although it understandably tries to convey the swing moods of the young Carla, it makes the story in itself a bit to chaotic.
Although having a well constructed mystery and atmosphere surrounding it, most of picturesque characters are not very attractive hurting the overall punch of the film.
Dorota Pomykała does a tremendous mammoth work in the lead role. Her interpretation as the greatly depressed Mira is astonishing.
But precisely is this depression that it feels like it could have been the sole motive without need of further explanation. The financial reasoning, although coherent, feels unnecessary and overly prominent.
