The sober, unsentimental approach to the interactions between Shaar and her women prevent Soufra from becoming a film that traffics in uplift. Soufra does not dwell on the delusion that the worth of an immigrant hinges on her productivity.
His output in the decade since Volver (2006), from Broken Embraces to The Skin I Live In to I’m So Excited, has lacked the charge and spontaneity of his finest work. Julieta has awoken him from this recent stupor.
Audiard aspires to the operatic charge of Taxi Driver, but ends up with something more like Death Wish with a gloss of exoticism, forecasting his social prediction for a future in which the refugee exacts righteous revenge upon his aggressors.