One of the most inhumane features—which is certainly an inherent component and not a bug—of the American immigration system as it relates to asylum seekers is that the applicant bears the burden of proving that they have suffered enough or that they Those who risk death should be allowed to stay in their country. The more frightening the lived experiences, the better the chances for a positive outcome. But how does one determine someone’s distress or the possibility that their safety will be threatened? These stipulations exist more to keep people out of the developing world.
The Christian drama “Bender’s Birders” uses a controversial asylum trial as a framing device to deal with the real-life case of the Petrosyan family, an ethnic Armenian couple and their two daughters for whom Azerbaijan was the only home they could call. Ever knew. Although tensions between Armenians and Azerbaijanis have long existed, particularly over the Nagorno-Karabakh region, for much of the 20th century, Russia maintained a semblance of order. But as the Soviet Union began to crumble, blood began to flow, resulting in 30,000 deaths and 200,000 displaced Armenians fleeing Azerbaijan between 1988 and 1994.
As timely as the topic remains in the current political climate — especially since most Americans have little clue as to how their government institutions treat refugees and immigrants — the latest inspirational tale from the director Mark Freiburger (2013’s “Jimmy”), who co-wrote the screenplay with Isaac Norris and Adam Sjöberg, aims for the best impression. The production design and cinematography are expertly crafted as Go (the sets and exteriors are believable enough to be Eastern Europe, while the camerawork and lighting appear unimaginatively standard), creating a “between the borders” drama.
Rocket scientist Ivan Petrosian (Patrick Sabongui) and his school principal wife Violetta (Elizabeth Tabish) escape to Azerbaijan after their neighbors, the Armenians, are also killed. They eventually make it to Russia, where discrimination from both authorities and employers becomes their new reality. It is only through a group of local parishioners’ ties to a church in West Virginia that the Petrosyans find a sense of community. Still, there was violence outside the congregation. As Ivan and Violetta relive their trauma in the present, Counselor Whitlow (Elizabeth Mitchell) discusses their new faith, their relationships, and their reasons for making America their permanent home. Raised harsh questions on the reasons.
The choice to make the film entirely in English, perhaps motivated by a desire for broad appeal, greatly harms the artistic quality. This is not only because of the obvious inaccuracy of scenes set in Azerbaijan or Russia with characters speaking fluent English, but because it contributes to the consistency of the performance. Tabish and Sabongui have their already platitudinous dialogue in forced English, creating a hyperware of their self-conscious, deprived acting. The child actors playing his daughters (Sofia Pisterianu and Natalia Bada) are strikingly unnatural in their delivery.
This language component requires certain details to be explained during court sequences, such as the fact that the family cannot work in Armenia because, while they are ethnically Armenian, they do not speak the language as they were born. Was born and raised in Azerbaijan. Such examples of over-explanatory context and non-stop, ill-timed dialogue develop into action and on-the-nose speech as Ivan confronts a group of bullies, or the judge in the case (by Michael Paul Chan Played) face. Text written on the Statue of Liberty before announcing their decision.
An artistically mediocre film with generally good intentions (there’s something to be said about how religious groups provide aid in the hope that beneficiaries convert), “Between the Borders” is primarily a Exists as a message-disruption vehicle. Unconcerned with the pursuit of cinematic excellence, Freiburger wraps the story in entirely saccharine fashion and avoids engaging with the more challenging political nuances of the subject matter.
Will Christian audiences be touched by the story of these fellow Christians who are seeking asylum in this country, will they be willing to extend the same empathy to refugees or immigrants who are not of their faith, who are highly educated. Who are not or who are not following communism? It often seems that sincere believers lack the ability to muster their compassion and lack the self-awareness to see that their actions and ideologies go against their religious values. “Between Borders” offers this crowd an idealized narrative about a family they can get behind, but will they self-ingratiate or be honest about why they deserve the Petrosian kindness they so much desire. Easily deny others? Unexpected.
“Between Borders” will get a one-day special-event release on January 26, with extremely limited theatrical showtimes in the days immediately following.
