The documentary Europe’s New Faces, directed by Sam Abbas, offers a poignant and humanistic portrayal of migrants navigating challenging circumstances in Europe. The film challenges sensationalist narratives often surrounding immigration, presenting a more nuanced perspective on the lives of individuals seeking a better future.
Abbas’ work stands in stark contrast to the typical framing of migration as a crisis, where migrants are frequently dehumanized and depicted as threats. Instead, he sheds light on their daily realities, revealing that these individuals are not merely statistics or potential criminals, but human beings with dreams and aspirations.
Documentary Structure and Themes
The film is divided into two distinct sections: “Land & Integration” and “Sea & Passage.” In the first segment, Abbas captures the lives of African migrants who have traversed dangerous routes through Libya and the Mediterranean Sea to arrive in France. They reside in cramped conditions within Parisian squats, creating makeshift communities as they await their uncertain futures.
Abbas employs a documentary style reminiscent of fellow filmmaker Frederick Wiseman, using observational techniques that allow his subjects to speak for themselves. The film’s intimate scenes depict daily life—women cooking, children playing, and individuals engaging in conversations—offering a glimpse into their humanity. For instance, one powerful moment features a young man expressing, “I can’t pursue my dreams until I get my papers,” highlighting the barriers that hinder their progress.
Despite the heavy themes, Abbas presents these moments with a sense of normalcy. A woman washes dishes while listening to music from her homeland, and children create a pool from discarded materials. These scenes resonate with the viewer, illustrating that the migrants are seeking dignity, not just survival.
Contradictions and Observational Altruism
In the second part, “Sea & Passage,” Abbas shifts focus to the perilous journeys migrants undertake. He juxtaposes the experiences of volunteers from Médecins sans frontières preparing for rescue missions with the stark reality of armed attacks faced by migrants. The film captures moments of tension interspersed with brief instances of relaxation, such as the volunteers playing foosball amid their serious work.
Abbas occasionally employs still photographs with noticeable camera shake, adding a layer of urgency to the narrative. This technique serves as a reminder of the instability experienced by migrants, whose lives are in constant flux. While the film’s pacing may feel slow at times, it invites viewers to reflect on the profound nature of the subjects’ experiences.
While some critics note that the anonymity of the film’s subjects can be frustrating, it ultimately fosters a powerful connection between the viewer and the stories being told. The choice to keep many subjects nameless and faceless allows audiences to embody both the teller and the listener, emphasizing the shared humanity of all individuals.
In the landscape of migration narratives, Europe’s New Faces stands out as a counter-narrative. It seeks to redefine how migrants are perceived, advocating for their recognition as equals deserving dignity and respect, regardless of their hardships. Through careful observation and storytelling, Abbas encourages viewers to witness the lives of those in movement, fostering a deeper understanding of what it means to wait for a better future.
