The film has a way too long introduction for Vicky Krieps’ character, who otherwise does a great performance, and unnecessary focus on her family issues which seem to look for an inexplicable empathy towards her despising character.
Otherwise, the movie does not start to pick up steam until the appearance of Mike Wilson and the look at the indigenous and migrant reality at the Mexican border.
Darkly funny at times, its premise (a member of the Srpska army looks for the pardon of his first victim) and setting (a dating event) are quietly ingeniously put together.
Nevertheless the tension does not feel like it gets fully built and its climax seems underemphasised.
Undisputedly masterful on a technical level (beautiful black and white photography, great sound department, sets that leave you in awe, and cool costumes) but underwhelming when it comes to content.
The script feels both pretentious and simplistic at the same time. There is a heavy use of rather weak metaphors, which try to push bland messages of homoeroticism, hierarchy and environmentalism.
At the same time, the film leaves you baffled and confused at times as you do not really know for sure how to react to what is happening to the screen.
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.
