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A House Made of Splinters is made with such aching sensitivity that it’s a marvel a camera was used and not some form of mind-meld.

There are no easy answers, but Simon Lereng Wilmont’s careful camerawork and clear rapport with the children lead to uncommonly candid footage and, occasionally, a sense of hope.

The film is a fine document of a few precious lives; what comfort can be taken from that is unclear.

This is a predominantly observational affair, marked by unusual tenderness and human interest, shot with a camera that feels all but invisible to its subjects — belying the director’s delicate, precise approach to light and framing.

While inseparable from Ukraine and its echoes, the film argues quietly but convincingly that its story is not specific to its time and place, necessarily, but is rather about how traumatized children everywhere might respond, react and/or rebel.

Affords an intimate and wrenching view of a national collapsing under the weight of unbearable traumas, and of the young children who are the prime victims of that strain.

Wilmont's film edges into emotional exploitation at times, but the raw moments he captures in this facility are a testament to the trust he clearly built with everyone there—and that ability to capture truth without interfering or manufacturing gives his film an undeniable emotional power.

A House Made of Splinters tells a story that needs to be told as loud as possible. While uncomfortable at times, the filmmaker is respectful and empathetic.

I found A House Made of Splinters to be more heartbreaking than hopeful, but I admired the moments of beauty that Wilmont delivers in a film that isn’t quite consistent enough in its storytelling approach.

Since the quality of documentaries tends to hinge on how compelling its subject matter is, A House Made of Splinters is further complicated by the fact that Wilmont’s filmmaking is largely perfunctory. Thus its draw leans almost entirely on the children and their tattered lives. In this way it does feel a touch exploitative, even if the goal is to shine light on an overlooked, ongoing tragedy.