Noaz Deshe’s Xoftex poignantly captures the endless loop of hope and despair faced by refugees, intertwining their harsh realities with dreams of escape.
For several years, some socio-political themes have been a wellspring of inspiration for filmmakers. The topic of refugees, particularly in Europe, is a powerful one. International film festivals often shine a light on this subject, always showcasing at least one film that delves into it. The Karlovy Vary International Film Festival is no exception, showcasing a truly surprising and original film on the topic, Xoftex, debuting in the Crystal Globe Competition.
When the opening shot of Noaz Deshe’s feature lights up the screen, it gives us an insight into the lives and mental stability of the many refugees seeking asylum. Their lives seem to be playing in a loop, with no exit or entry points. This film does much more than comment on their lives in refugee camps; it also shows us their dreams and aspirations as they try to make sense of each painful day of existence.
Xoftex is about loss, subtle wins, and yet losing onto their dreams. It is more a commentary on the long wait and diminishing hopes. Deshe brings all these elements together in 99 minutes and yet leaves you gasping to know the characters and their lives more.
The title itself is very catchy and interesting. The film is set in an immigrant camp in Greece, on a vast wasteland on the periphery of the city’s limits, showing us the solitude and distance between the real city and the setup in this refugee camp.
Early on, Xoftex focuses on the mental state of mind, with the director depicting various stages through which these refugees try to find stability in their situation, with scenes almost reflecting science fiction-style zones.
The story revolves around two brothers, Nasser (Abdulrahman Diab) and his older brother Yassin (Osama Hafiry). Both are fleeing the Syrian war and make movies on Nasser’s phone to pass the time. These films later become part of the entertainment for their group of regulars. These movies are based on their experiences, from being forcefully repatriated, recreating comic states of news coverage of the war, to making zombie movies.
It seems as if the director is telling us that these refugees have spent so much time in these camps, made of old prefab containers, that they live their current lives based on the information they had. It is very surreal to see the everyday struggle of these characters as they wait in hope to ‘get a call’ for asylum.
Each of these refugees dreams of settling in various countries of Europe like Sweden, France, Switzerland, and even Poland, which shows their desperation to get out and live as ordinary citizens.
Deshe also brings in the frustration among the residents of the camp, where some try to smuggle themselves out of the camp, escaping by traveling in the underbelly of goods trains. This showcases the pitiless means of transportation used to flee from their plight. The director shows us the reality using a blend of fiction and documentary style to tell the tale of the many refugees who are ‘stuck’ in a timeless void, unable to realize where they really belong. Here, the director shows us Nasser’s belief in the system and willingness to find the right way to be in a better place. Nasser’s mind is shown through his project that he creates by breaking the mirrors in their makeshift homes, thus easing his numbing pain and the longing he feels towards his lost relatives and friends. Nasser’s pain and reality are reflected in his thoughts through the broken pieces of mirrors, with a possibility of hope.
We are delighted to be covering the 58th Karlovy Vary International Film Festival on the ground. Explore our coverage here.
