LIMBO

UK, 2020, 104 minutes, Colour.

Amir El-Misry, Vikash Bhai, Ola Orebinyi, Kwabena Ansah, Sodiene Ojewuyi, Sidse Babette Knudsen, Kenneth Collard, Cameron Fulton.

Directed by Ben Sharrock.

While the Christian theological tradition of a limbo, between Heaven and Hell so to speak, has been let go in more recent times, the word limbo has taken on a highly significant place in the English language and in metaphors.

In more recent times, with enormous mass migration, especially from countries which are battle-torn, refugees not being immediately accepted by other countries, the word that is used is limbo. To that extent, any film about refugees and their limbo is a challenge – and audiences, in whatever country they view the film, being asked to reflect on refugees and their status, the nature of their limbo, and how eventually they might be released from that limbo.

The director of this film, Ben Sharrock, did studies in Arabic culture and spent many years in social work in countries outside the UK. He brings that sensitivity and experience to his screenplay and his direction. He has opted for a rather quiet drama, touches of comedy, touches even of the absurd, rather than a diatribe against authoritarian discrimination against refugees. He invites us to share the experience so that we know and feel more of what living this limbo, day by day, is like.

The setting is Scotland, on a small island, more than a touch of the desolate. There are open fields, the waters, a few houses, a small village with a very limited supermarket, shared accommodation for the refugees. They don’t seem to be many authorities on the island, although there is a scene where the police to arrive to take a refugee away. There is one payphone, few outside communication possibilities post.

We are introduced to the refugees with two of the locals, sympathetic, sensitive/insensitive, doing a dancing role-play to illustrate what is appropriate for the men when dancing with women. Later they do a role-play with one of the men doing an interview for a cleaning job. Sometimes the men and so some questions but by and large they sit and watch.

At the centre is Omar, a young man, refugee from Syria, going to the phone box to have conversations with his parents who are in Turkey. He has brought his father’s musical instrument, the oud, but his hand is in a cast and he has not played. Omar shares a room with Farhad, older man, sympathetic, fascinated with a rooster which he steals, calling it Freddie Mercury. Omar and Farhad do communicate as they sing popular songs with each other (like Hot Chocolate’s It Started with a Kiss.

So, what are these refugees to do, older men who regret what has happened to them, one wanting to be a footballer but ageing. Some of the others are very young, even 17, telling their stories of loneliness.

We follow Omar in various actions, getting a boat ride with the locals who love to drive on the beach and spin their car, digging a grave in going through Muslim rituals, talking at length and going out to watch the northern lights, going to the supermarket and wishing that a favourite Syrian spice was there (and the spice does provide a moment of happiness towards the end).

Ultimately, Farhad will get papers to enable him to going to society, but not before he acts as an agent for Omar to put on a concert for all the locals, bringing out the oud and moments of joy as he plays.

But, at the end we are invited to look again at the desolation, the limbo.

1. Title? The theological background, a neutral place? In common imagery, people abandoned in the limbo?
2. A British film, the background to the director, Arabic studies, working in foreign countries? His sympathy for the refugees?
3. The settings, Scotland, the island, the touches of desolation, isolation, the small population, the homes, the hall, the limited supermarket? The musical score? The background music from Syria? The playing of the oud?
4. British policy towards refugees, isolating them, applications for residency, the wait, limitations of the post, the phone box, limited communication? Uncertainties, the men living together, sharing their situation? The locals, the classes for culture, the supermarket manager, the young people on the boat, the people coming for the concert? The absence of government officials? But the arrival of the police to take one refugee away?
5. The landscapes and the camera dwelling on them and then the title of the film? The same with the end? An atmosphere of desolation?
6. The men, the instructors, the protocols of dancing and behaviour, the men as an audience, being asked questions, reluctant to answer, some answering? The role play about the job application to be a cleaner? The reaction of the man who wanted to be a footballer? Walking out? Sensitivities and insensitivities of the locals?
7. The men out in the open, the phone box, the man crying in his phone call, the focus on Omar, his phone call, discussions with his mother and father, the screenplay filling in his background, from Syria, the parents in Turkey, the brother still at home, his taking his father’s instrument, his injured hand? His age, loneliness?
8. The introduction of Farhad? His background, age, friendship, discussions with Omar? Taking the chicken, the fondness of the chicken, Freddie Mercury? His own plight, supportive of Omar, with the group, eventually getting his placement, going to the donation shop, fitting himself out, giving the chicken back, his future? Sharing songs with Omar, Hot Chocolate’s It Started with a Kiss?
9. The group of the four men, the accommodation, sharing rooms, the television, watching Friends, the discussion about the characters?
10. The two from Africa, the older and the younger, the older man wanting to be a footballer, his being upset during the class? The younger man, 17, telling his story, his loneliness, the older man becoming a mental? The episode in the accommodation, the reaction to the rooster?
11. The young people, in the car, conversations with Omar, driving him? His return to them, in the boat, digging the grave? His return?
12. The dramatic impact of Omar’s long conversation with the other man, the night, going out to see the northern lights?
13. The idea of Omar and concert, Farhad and his offering to be manager, the organisation, the notices? The cast off Omar’s hand?
14. The supermarket, the ethnicity of the manager, his microphone, the small amount of goods, Omar and his longing for a Syrian spice? The end and the manager providing the spice?
15. The concert, everybody turning up, the people from the village, the men, Omar going on stage, the atmosphere, beginning to play, continuing to play?
16. The final focus on Omar, on the landscapes and the desolation, the audience sharing the experience of refugees and their limbo?