A new, punishingly immersive documentary focusing on the migrant experience is set to challenge UK audiences. Egyptian-American film-maker Sam Abbas's "Europe's New Faces" offers a stark, four-hour observation of life for African and South Asian immigrants, from perilous Mediterranean crossings to the precarious existence in a Paris squat.
A Deliberately Disjointed Narrative
Filmed over four years, the project is cleaved into two parts that initially seem presented back-to-front. The first section immerses viewers in the daily rhythms and struggles of a Parisian squat, where residents band together against eviction threats and navigate the labyrinthine bureaucracy of seeking asylum.
The second part then shifts to document the treacherous journey itself, showing other individuals risking the rough sea passage from Libya across the Mediterranean. The film also includes footage from rescue boats operated by organisations like Doctors Without Borders (Médecins Sans Frontières).
An Aggressively Experimental Approach
Where "Europe's New Faces" diverges sharply from other documentaries on similar themes—such as Fire at Sea or the drama Io Capitano—is in its radical, non-narrative structure. The film is composed of a series of protracted static shots and still images, often lingering far longer than conventional film-making would dictate.
The audience is presented with a raw, unexplained jumble of visuals: close-ups of body parts and faces, a fuse box, the graphic emergency delivery of a child via C-section, text messages on a phone, and sick people laid out on a boat deck. Many of these scenes are barely visible, filmed in intentionally low-lit conditions.
A Soundtrack and a Fleeting Moment of Joy
Adding to the challenging atmosphere is a punchy, scratchy musical score by noted French film-maker Bertrand Bonello (director of The Beast). The soundtrack rankles in the background, neither clearly enhancing nor detracting from the seemingly random imagery.
Critics argue that the deliberate lack of story, structure, or clear editorial principle acts as a serious impediment to empathy, making the 159-minute runtime feel arduous. A rare, bright exception is a minute-long clip where a woman is seen joyfully dancing to Oumou Sangaré's track "Seya," offering a fleeting respite.
The film's UK release is scheduled for 12 December in cinemas, followed by a digital platform release on 19 December. It promises to be a formidable viewing experience, demanding endurance from its audience while casting an unflinching gaze on one of the continent's most pressing issues.
