WARSHA
Other movies
LOST LAND
Director: Akio Fujimoto
In this quietly powerful, first-ever Rohingya-language feature, Japanese filmmaker Akio Fujimoto offers a haunting, intimate portrait of two siblings fleeing persecution in Myanmar. With nothing but vague directions and each other, nine-year-old Somira and her younger brother Shafi begin a harrowing journey to join an uncle in Malaysia, crossing borders by sea and land and navigating a world shaped by smugglers, fear and exploitation. With a cast of non-professional actors, most of whom lived refugee experiences, the film blends realism with lyrical restraint. Eschewing melodrama for quiet observation, Fujimoto captures the disorientation of displacement and the uncertainty of fragile hopes. Lost Land is a timely, deeply human reflection on survival, resilience and the Rohingya’s eternal search for a place to call home.
THE WORLD OF LOVE
Director: Yoon Ga-Eun
How do we rebuild our sense of self after deep emotional wounds? The World Of Love, the latest from Korean director Yoon Ga-eun, offers a moving portrait of a teenager navigating trauma with unexpected honesty and detachment. Jooin (Seo Su-bin), appears cheerful and outspoken, but her confidence masks a more painful past. Rather than focusing on suffering, the film explores resilience and the subtle power of reclaiming one’s own story. With understated direction and a remarkable performance from Chang Hyae-jin as Jooin’s mother, Yoon brings a lyrical sensitivity to the emotional terrain of family relationships and adolescence. Grounded and quietly courageous, The World Of Love is a deeply human story of survival and the quiet triumph of emotional healing.
LATE SHIFT
Director: Petra Volpe
Petra Volpe’s salute to caregivers is executed with strength and admiration. Led by a nuanced and meticulous performance from Leonie Benesch, Late Shift is an eloquent plea for compassion, as well as being a gripping story about a day in the life of a hospital worker. Floria (Benesch) is a nurse on an understaffed surgical ward, where she balances the constant demands of her patients — medical and emotional — knowing that every decision she makes (or neglects) could have fatal consequences. Floria, and Volpe’s camera, are constantly on the move to beeping monitors and crash carts in the ward’s confined quarters. As Switzerland’s Oscar submission, Late Shift delivers high drama and a sharp question: who will care for the carers?