For asylum seekers, one of the most dehumanizing features of the U.S. immigration system—which is certainly an inherent component, not a bug—is that the onus is on applicants to prove that they have suffered enough, or They are at risk of death. their home country to obtain a residence permit. The more terrifying the experience you survived, the greater the chance of a positive outcome. But how to precisely quantify someone’s suffering or the likelihood that their safety will be compromised? These regulations exist more to keep people from developing countries out than to protect them.

Christian drama Between Borders is framed by a controversial asylum trial and follows the real-life case of the Petrosyans, an Armenian couple and their two daughters for whom Azerbaijan is The only home. Despite long-standing tensions between Armenians and Azerbaijanis, especially in the Nagorno-Karabakh region, Russia maintained a semblance of order for much of the 20th century. But as the Soviet Union began to collapse, bloodshed broke out, resulting in more than 30,000 deaths and 200,000 Armenians fleeing Azerbaijan between 1988 and 1994.

Because the subject remains timely in the current political climate—especially since most Americans know very little about how their government agencies treat refugees and immigrants—director Mark Freiburger (2013's "Jimmy" co-wrote the latest inspirational narrative of the film. The script, starring Isaac Norris and Adam Sjoberg, is middling at best. Beautifully crafted in terms of production design and cinematography (the sets and exteriors are as believable as Eastern Europe, while the cinematography and lighting feel unimaginative), Between Borders is didactically written in a way that brings Peter The plight of Luo Xiang's family appears as a derivative period. drama.

Rocket scientist Ivan Petrosyan (Patrick Sabungi) and his school principal wife Violetta (Elizabeth Tabish) flee Azerbaijan after their neighbor, also an Armenian, is killed. They ended up in Russia, where discrimination from authorities and employers became their new reality. It was only through a group of local parishioners connected to a church in West Virginia that the Petrosyans found a sense of community. Still, violence lurks outside the congregation. As Ivan and Violetta reflect on their current trauma, counselor Whitlow (Elizabeth Mitchell) harshly questions their newfound faith, their ties to communism, and their desire to bring America to Reasons for being a permanent home.

The choice to make the film entirely in English, possibly in the hope of wider appeal, greatly detracts from the artistic quality. This is not only because of the obvious inaccuracy in scenes in Azerbaijan or Russia where characters speak fluent English, but also because it results in stilted performances. Tabish and Sabongi deliver their already cliche dialogue in heavily accented English, making one hyper-aware of their self-awareness and contrived performances. The performances by the child actors playing the daughters (Sofia Pistireanu and Natalia Badia) are equally blatantly unnatural.

Because of this linguistic component, certain details needed to be explained during the courtroom sequence, such as the fact that the family was unable to find work in Armenia because, although they were Armenians, they did not speak this language since they were born and raised in Azerbaijan language. This over-explained context and uninspired, out-of-place dialogue devolves into lengthy, pointed remarks Ivan makes when confronted by a group of hooligans, or a recitation of what the judge in the case (William Chan) wrote in Liberty before announcing the verdict. Text on the statue of the goddess.

Between Borders is an artistically mediocre film, but with good intentions overall (it's worth mentioning how religious groups provide aid in the hope that beneficiaries will convert), Between Borders functions primarily as an information dissemination tool. exist. Freiburg seems so unconcerned with the pursuit of cinematic excellence that he ends the story in a completely saccharine manner and avoids engaging with the subject's more challenging political nuances.

Would Christian audiences moved by the stories of these fellow Christians seeking refuge in this country be willing to express similar empathy toward refugees or immigrants who were of a different faith, were not highly educated, or did not flee communism? Often, sincere believers seem to have the ability to differentiate their compassion but lack the self-awareness to see that their actions and ideologies violate their religious values. Between Borders provides this group with an ideal narrative about a family they can support, but will they question themselves or honestly think about why the Petrosians deserve the kindness they so easily reject from others? Not likely.

"Between Borders" will have a one-day special event on January 26, with extremely limited theatrical screenings in the following days.