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Ghabe

Country: sweden

Year: 2020

Running time: 100

IMDB: https://www.imdb.com/title/tt9042304/reference

Michael says: “In the summer of 2015 there was a large migration of Syrian refugees seeking asylum all over the world GHABE follows one family to Sweden, were young man named Monir becomes enraptured with the sweeping Swedish forest even as he struggles with the horrific memories of his life in Syria, and resents his outsider status in his potential new country. While his uncle and extended family struggle to do everything right and fit in, so that they will be granted asylum, Monir spends his time exploring the deep, majestic forest, the border of which the house they are temporarily staying in site. One pond in particular serves as an oasis of sorts for Monir, where he finds an old rowboat and spends hours drifting and looking at the sky and the surrounding trees. He avoids contact with the natives as much as possible, although he finds them strange and sees distrust and prejudice in every action… that is until he spies Moa, and young Swedish woman that he is clearly smitten with. When one day she spies him masturbating behind a tree after watching her skinny dip, her bemused reaction reveals that she has noticed him as well, in a way that suggest a possible mutual attraction. The two enter a passionate and whirlwind summer romance.

“As is often the case in summer romances, it’s never clear if they will survive the coming chill. In Monir’s case, it coincides with a judgment on whether he and his family can start in Sweden. Despite Moa’s urgings, Monirr’s hot-headedness lands him in a volatile situation that ultimately leads to a rather dramatic and sadly, disappointing conclusion. While the film does a lovely job exploring the challenges faced by refugees being thrust into an alien world, having endured incredible circumstances and loss, and expected to be model representatives of humanity. The developing relationship between Monir and Moa is sweet and somewhat magical, but writer/director Markus Castro goes for the big dramatic finish, which seems too much for the tranquil beauty of the setting. Perhaps that was his point, but it just didn’t work for me. Major props to cinematographer Paul Rasmussen, who clearly learned his chops as first assistant cameraman on LET THE RIGHT ONE IN. 3 cats“
Ghabe

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