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This film, "Carrion" differs from other movies in its storytelling approach. The director has chosen to narrate it as a mysterious and chilling thriller, creating an atmosphere of unease that keeps viewers on the edge of their seats. The slow and subtle appearance of characters, coupled with their silent connections to a previously told story of death, leaves the audience guessing about what events they might encounter. In the final segment, the film leads the viewers back to the normal world, but it leaves them puzzled and intrigued by what might have just happened. This viewing experience offers a fresh perspective on storytelling, particularly through the compelling group of characters portrayed in the film.

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The film, which resembles a collection of short events, now presents an intriguing glimpse into the world of state resistance. The expressions of the masses, as revealed through their distinctive faces, backgrounds, and expectations, vary significantly, making each individual a unique entity within the larger society. As a result, the masses are always diverse and distinct individuals.

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This movie from Jordan is deceptively simple but addresses intense issues. Especially since the film was made in a country with a large Muslim population, the voice of dissent is even more amplified. The situations depicted in the film are both provocative and thought-provoking, resonating not only with those within the Muslim community but also affecting outsiders. It prompts questions, particularly for people within the Muslim society, about how they would react when confronted with such situations.

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It is not easy to reduce the long-standing conflicts of ethnicity into a story seen through the eyes of children, amidst the hopelessness of this world. The film presents a beautiful and hopeful perspective, even during the most challenging times.

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Is it a cosplayer in an astronaut suit? No! Is it an invader from outer space? Wrong! Is he nuts? Certainly not! Or else... A space/time traveler. Reasonable!
Audiences are temporarily trapped with these questions, with perplexing riddles raised by Maisha Maene. In the meantime, production crews with cameras also assimilate themselves among those enthusiastic crowds on the street. It is uncertain whether they were intentionally cast or spontaneously reacted.
Maene's craftsmanship is successful in presentation, not only in subject matters but also in captivating his audiences and bystanders through his skillful tricks, reminiscent of magician treats, in terms of techniques and story-telling structure. It's difficult for us to decide which is the beginning or the end.

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An observatory looks upon a surviving Ukrainian refugee labor family in Poland. However, at its turning point dilemma, it faces the decision of whether to allow them to evacuate to a third country, such as Germany, in the meantime. Mi?osz Jan Sawicki's vision also predicts a long-term destiny for these Ukrainian immigrants. He starts by giving them hope for resettlement in another country. Sawicki also respects the rights of these casualties by refraining from providing false hope through his character's choices. He also declares his political standpoint, avoiding any endorsement of extremists. He neither passes judgment on what is right or wrong, but he provides a glimpse into foreseeing the plight of victims of tyrannies, dictatorial leaders, and brutal warfare throughout history. These origins serve as breeding grounds, giving rise to a new generation of capitalists or mobsters.

DIRECTOR STATEMENT

I'm glad that my film Liosza was awarded, and therefore appreciated, so far from the place it tells about. We made an intimate story, about the current dilemmas of millions of people from Ukraine, it is very encouraging to me that Liosza works for viewers, in different latitudes.