Lyrical and beautiful alien invasion flick looks inwards
In the house of Mustapha , a businessman and local fixer referred to even by his wife and daughter as"sir," the servants joke in the kitchen while the family – captured mostly in static long shots – sit in iPad-enhanced quiet.
Itto is stuck between worlds. It's not just in the way that conversations switch between working class Arabic, the more aristocratic French, and her native Berber. It's her habits that will always set her apart from the family, as indicated in a character-defining interaction with an uncooked chicken.
Cinematographer Noé Bach and editor Héloïse Pelloquet present these opening scenes as pure social commentary, as Barid expresses Itto's scarcely hidden fear that she'll always be the outsider, both in this world and the one she has fled.
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