Limbo

A tale of those lost in seemingly perpetual transition, left in the dark, outcast, isolated and alone, as the dehumanising process of asylum seeking is dissected with great humour, empathy, sorrow and loss - outstanding!

The writer / director achieved what I can call the hero change from within , where the protagonist took the same open road at the end but the journey changed him completely. From my humble opinion, this is how a festival film should look like. Although a lot of films tried to tackle the Syrian refugee case but this film was totally different, using filmmaking to tell the story in an artistic and sarcastic way.

I came across this film and I felt intrigued to see it and I'm glad I did. This film is so beautifully made and is very touching and moving. The story follows the young Syrian Omar (Amir El-Masry) who ends up in a remote Scottish island until he finds out if he's granted asylum. He lives with three other immigrants from other nationalities and they live in a small house in the middle of nowhere, while they attend cultural awareness sessions to develop their social skills. Omar doesn't say much, but his eyes says it all. He feels alone and out of place, while he's an aspiring musician who plays the oud, he never played since he left Syria, and due to a hand injury he remains unable to play. He calls his parents over the phone, where they tell him about their struggle as well, as they live in Turkey, while his brother Nabil remains in Syria to fight for his country. Omar feels that he's not good enough as his brave brother who wasn't afraid to stay in his war-torn country, while he's haunted by his father's words who keeps reminding him " a musician who doesn't play, is a dead man". Omar struggles with his memories of his life with his family back home, where they used to grow apricots and sing old songs, and he used to play oud in front of audience. But now he just wanders the open roads and fields, and he just talks with his roommate Farhad, who's been waiting for more than two years for his asylum claim. Omar walks everywhere with his oud case which was given to him by his grandfather, maybe because he doesn't want to lose it, as it's the only thing he has left that reminds him of his old life. The film has a lot of other moving stories related to the other immigrants and Omar's relationship with his brother, as all of them highlight how cruel it is for any refugee who's forced to leave his country and venture into the unknown, while leaving his loved ones behind and facing a world he doesn't recognize or belong to. The writer and director Ben Sharrock was able to capture the inner feelings of an Arab in a foreign country, and the Cinematography of the vast landscape with very beautiful. Also the depiction of Arab songs was lovely especially the song in the end titles by Magda El Romi. This is one of those rare films that is so human and it's brilliance lies in its simplicity yet it has such great emotional depth. Finally Amir El-Masry is such a talented actor, who could be the next Rami Malek, who knows.

Ben Sharrock's film tells the story of a number of refugees on an island off the coast of Scotland, where they await the potential of seeking asylum in the United Kingdom. The film centers first and foremost on Omar, a refugee from Syria with a background as a musician. The film's uniquely bittersweet tone and down-to-earth resonance makes it a generally commendable picture. Sharrock uses dry humor to create "fish-out-of-water" scenarios for the refugee characters, but he does so in a smart and sophisticated way without seeming insensitive to their backgrounds and ambitions. Yet the film is also deeply cognizant of the traumas suffered by refugees, and despite the mix of lighter and darker material, the film's tone is always handled well and never manages to feel uneven. We feel the uncertainty and plight of the major characters, while also remaining endeared and deeply sympathetic to them.

The film's aesthetic is simple yet appealing, with narrow-frame cinematography of the Scottish island that can sometimes look like shots in a Wes Anderson film. As a character, Omar is also extremely well-developed through our understanding of his past as well as his future ambitions. His interpersonal relations are also carefully examined through the film's witty and thought-provoking dialogue, including conversations with other refugees and well-written telephone conversations he has with loved ones. Through the film, Omar genuinely evolves as a person in a way characteristic of coming-of-age films; this dynamic nature of his character was also handled well throughout the narrative. My only real criticism of the film is that it tends to drag in the second act, which simply felt less insightful to me in its character development or social themes than the first and the third act. That said, "Limbo" serves as a touching and clever portrait of the refugee experience that is generally worth seeing. 7.5/10.

Greetings again from the darkness. Immigration is an important and hot topic these days, and it should be noted that most countries have challenges with people either trying to get in or trying to get out ... and for some, it's both. Writer-director Ben Sharrock offers a unique and creative look at refugees stuck on a nameless remote Scottish island, awaiting word on their UK asylum request.

Omar (Amir El-Masry, Tom Clancy's "Jack Ryan" TV series) has escaped the war in Syria, and we learn much about him from listening in on calls to his mother from the only phone booth on the island. An acclaimed musician in Damascus, Omar lugs around his grandfather's oud ("it's like a guitar"). As proof of his homesickness, the bulky case never leaves his side, nor does he pull the instrument out to play - music is meant for joyous occasions. Omar shares a small house with three other refugees: Farhad (Vikash Bhai) from Afghanistan, Abedi (Kwabena Ansah) from Ghana, and Wasef (Ola Orebiyi) from Nigeria, with the latter two posing as brothers in hopes of improving their odds for asylum.

Omar is a sullen stone-face who absorbs the racist taunts from young locals (they ask if he makes bombs), and stands in contrast to the more outgoing and optimistic (and darn funny) Farhad. Not only does he idolize Freddie Mercury for "teaching" him English, Farhad, with his ever-present cigarette, also captures a chicken and keeps it as a pet. These refugees regularly attend a class entitled "Cultural Awareness 101", meant to acclimate those from varying backgrounds to the local customs and culture. These segments are mined beautifully for comedic effect, while also giving us insight into all those involved. There are also references to Chet Baker, Donnie Osmond, and the TV series, "Friends".

This is a terrific film, as well as an odd one. Many of the shots from cinematographer Nick Cooke are static and sparse in style, and though focused on the individuals, the camera also captures much of the isolation of the island. These visuals are stunning in both their simplicity and relevance. It's a dramedy unafraid to be absurd in a moment, while also being enlightening. At times it has the feel of Wes Anderson without the color palette. We aren't sure what is worse, the weather or the local postal service. Brutal cold envelops the newcomers, while the delivery route of a postal van (and the reactions of the refugees) is a comedic highlight. Even the local market, with its limited spice selection and directions for urination, draws laughter from us.

Despite the comedy, we never lose sight of these folks being stuck in purgatory. Maybe it's not true camaraderie, but they seem to take some comfort in numbers as they wait. Omar is carrying guilt and feelings of inadequacy as he chose to leave while his older brother Nabil (Kais Nashif) remained in Syria to fight in the war. There is a wonderful "scene" that allows Omar to make peace with their contrasting decisions, and it leads him back to playing music. After all, "a musician who doesn't play is dead". The titular term of Limbo often means stuck, and there is also a game of persistence that uses that name, and both definitions work here. We are reminded that regardless of the various cultures, those in the immigration system have their own personal stories and burdens.

Opens in theaters on April 30, 2021.