I hate to downgrade it because it is an adequate film that was easy to sit through, and a subject worthy of treatment. I only gave it 5/10 because it just seemed like nothing original here. Other films have executed intersecting stories so much better. I have the vague feeling the script is just ideas lifted from other movies, and pasted together in a weak attempt to make something for festivals.

CinemaSerf

Oct 5, 2026

7.0

There are three separate threads to this story that in their own way showcase the difficulties of surviving and working on the African continent. It begins with scenes that look as if they could have come from a sci-fi film with thousands attacking a series of fences designed to protect the Spanish enclave of Melilla. The forces retained to defend it look meagre by comparison with this invasion and it's in that very defence that one climber is killed. This causes ructions not just amongst the crowd, but also between guard "Mateo" (Álvaro Cervantes) and his partner "Javi" (Jesùs Carroza). "Gonzalo" (Luis Tosar) meanwhile, is some disance away trying to help the local game wardens stop the slaughter of elephants for their ivory. This is a thankless task as usually they are too late and there isn't always a great deal of sympathy from those he has been sent there to help. Finally, some cause and effect creeps in as the death of one such creature leads to the displacement of "Adú" (Moustapha Oumarou) and his elder brother "Alika" (Zayiddiya Diussou) who decide that their only hope of escape is to stow away in the undercarriage of a plane and hopefully reach Paris. With these three scenarios now established, this film now follows each of their stories as they play out. Is "Javi" to be tried for murder and how might that compromise "Mateo"? "Gonzalo" finds himself embroiled with his dipso ex-girlfriend "Sandra" (Anna Costello) - which I found to be the least interesting of the stories and then there's "Adú". For my money it's his journey that makes the film worth watching. Paris? Well no, the plane they sneak out on only serves to take them slightly further along the coast and leaves him isolated in an unwelcoming land. Luckily, he encounters the young "Massar" (Adam Nourou) who takes him under his wing whilst he services the local truck drivers to earn enough money to keep them fed. It's the effort from Oumarou that really stands out here as "Adú" skillfully takes us on his travels and shows us just how life really can be for the poverty stricken and the hopeless living on the wrong side of the fence. The chemistry between him and Nourou is touchingly potent and that latter man also delivers something fundamentally decent with his characterisation of a man with no papers, no home, and as we gradually begin to appreciate - not much hope, either. Their's are lives that are works in progress. We don't neccesarily see the conclusions, but are left to absorb the scenarios and reach some conclusions of our own as all three elements converge on one little piece of Europe on the African continent - each with their own aspirations. This film presents us with quite a subtle illustration of just how intereconnected we are; not just with each other but with our environment too, and at how consequential behaviour frequently delivers unexpected and unwelcome results. I didn't care so much about "Gonzalo", and the depressingly familiar "Mateo" storyline wasn't the most engaging either - but "Adú" tells us a compelling story that's well worth a look.