Critic Reviews

Kahn never offers an easy way out for Thomas, even if the finale tends to wrap things up in ways that seem a little too conclusive. But his film mostly explores, with steadfastness and moments of raw emotion, the crude uphill battle faced by junkies on the path to recovery.

Agnostically observant in its approach to spiritual matters, but more devout in its quiet celebration of human compassion, this film’s most complicated lines of inquiry largely play out on the young, unformed face of its protagonist Thomas — impressively played by breakthrough star Anthony Bajon.

For the most part, Kahn’s latest effort is a tenderly observed portrait of the transformative power of religion, even if it occasionally fails to convince.

Kahn floats the idea that it’s not simply God who has enraptured Thomas’ soul, but his desire to exist within a society that accepts him. Sadly the mechanical aspects of the film’s plotting mean these ideas never manage to bubble to the surface

Always watchable but not transcendent, Cedric Kahn’s character study builds its portrait via landscape, work, prayer and friendship.