Laudable in intent if creaky in execution, Olivier Masset-Depasse’s second feature awkwardly combines a scalding condemnation of Europe’s immigrant detention centers with maternal melodrama. Tania (Anne Coesens), a Russian living in Belgium with her 13-year-old son, Ivan, is sent to a stygian holding pen for undocumented immigrant women and children after she fails to produce the proper identification during a random police check. A prisoner without a name (she refuses to tell the authorities what it is) or fingerprints (she seared all of her digits’ pads with an iron in the film’s prelude), steel-willed Tania slowly starts to connect with her Chilean and Malian cellmates, who, less fully developed characters than constructs, are almost as anonymous as our heroine. In between enduring the bureaucratic sadism administered by guards who appear to be the Wallonian descendants of the... More >>>