refugee crisis was wobbling past its tipping point in late 2021, a small patch of no-man’s-land between two Eastern European nations was turning into. Migrants who were fleeing turmoil in the Middle East and parts of Africa had been told that they could find a way into Europe via Belarus. The rumors were that the country’s president, Aleksandr G. Lukashenko, was touting easily accessible tourist visas as a safer alternative than trying to make the arduous, dangerous journey by boat.
A cry of rage and plea for compassion that blazed through the festival circuit last year — and the cause of much controversy in its country of origin —is Polish filmmaker Agnieszka Holland’s attempt to examines this crisis from a variety of viewpoints.
Indeed, for “propaganda” that Poland’s officials have gone after for being anti-Polish, the movie sure goes out of its way to portray its country’s citizens as sympathetic to those trying to find a new home in Europe as much as it details an overall apathy to the crisis.
There’s a small side story that’s slotted into the movie’s narrative-go-round near the end, in which three African teens end up finding a temporary home and bond with their Polish peer over a mutual love of hip-hop. In any other film, such a sequence might read as Pollyanna-ish. Here’s, it’s a much-needed glimmer at the end of a seemingly endless tunnel.
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