Hui Ling, who works at the Thai-Malaysian border and dreams of a better life in Taiwan, needs to make ends meet when she finds herself penniless. Her boss suggests a way to make money quickly: to work alongside human traffickers handling refugees from the persecuted Rohingya Muslim minority group.
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WE, THE DEAD is a unique and genuinely unusual film operating at the periphery of a perhaps-under-represented humanitarian nightmare; though it is characterized by a predominating quality of amateurishness, this is for the most part less of a handicap than you might think. This is what new voices often do: they struggle to actualize. There can be no denying that an industrious intelligence is at work here. Promising.
3.5 - Your enjoyment and critique of this film will all depend on how you take the second half of it. While one shows a realistic, minimalist, grounded approach to its themes, plot and subjects, the other half might try for a more symbolic approach of things, making it seem like two different movies trying to fight as to which one is more right than the other. Ambitious albeit that shift might leave some unsatisfied.
Some nice shots, but honestly a terrible film, the plot was all over the place. We did not understand too much and by the end of the 90 minutes, the film had accomplished very little. What a waste of 90 mins.
Ah, the juxtaposition of lush nature and the corruption of humanity!
Though I was a little put off by act two, Aqerat sheds light to the plight of the Rohingya Muslims being pushed out of Myanmar.
Awesome hand-held camera techniques and angles!
Trapped at the border and within her own meaningless existence, a girl resorts to crime by helping human traffickers. Edmund Yeo’s beautiful composition of nature, creates a serene and captivating experience between those who seek to enter paradise, and those who yearn to escape into their own dreams of salvation.