Representation does not equal inclusion. With ostensibly good intentions and plenty of compassion, Fanny Liatard and Jérémy Trouilh’s attempt at telling the story of refugee children in Europe, The Green Eyes, unintentionally spites its ostensible sensitivity through a fundamental mishandling of its subject matter. Trite and simplistic, and unable to generate any substantial depth due to regular tonal inconsistencies, it develops into a paradoxically insensitive treatment of its story. Similarly to the duo’s previous film, Gagarine, which also told the...
Comments are closed.