Jared Mobarak

This is a story-first project utilizing everything at its disposal to enchant, entertain, and inspire with catchy songs, three-dimensional characters, and impeccable craft.

The emotions run the gamut, and Melliti imbues an authenticity to each one as her world spins between the dueling halves of her character’s identity.

Forastera is thus very much a coming-of-age story, despite its unconventional trigger through the sorrow of death.

This whole world aesthetically presents itself like an R-rated, multi-cultural Zootopia (without the one-dimensional race allegory) that shifts between English, French, and Arabic. Rather than have a specific rhyme or reason for which characters are which, I imagine this stylistic choice was made to create a remove from reality while also playing with the notion of children’s stories using animals as a teaching tool. It probably also helped cajole friends and family to participate by voicing “themselves.”

Intent and execution might not always align, but it’s an entertainment ride nonetheless.

The result is a wonderful showcase for Aselton. She has written an emotionally complex role that’s built to provide her a stage with which to let loose, to feel the roller coaster that is life beside another human while enduring fate’s cruel hand.

The documentary proves an inspiring tale of the perseverance of those who refuse to cater to corruption and exploitation while also rejecting the alternative of quitting.

No one can be trusted. No one is assured of their survival. We don’t even know who we should be rooting for––beyond the filmmakers themselves, in hopes they stick the landing.

It’s a devastating, relatable performance by Ferreira.

Rehmeier has found a way to traverse different genres while maintaining an authentic, honest mix of comedy and drama. He’s unafraid to go for the big laugh, regardless of subject matter, yet knows when to hit the emotion hard.