This is portrayed compellingly through the transition we see from Vales hesitant music lessons in classical piano (which is shown to be a talent of his late wifes), to learning the African drum from Tarek, something which he seems to have a knack for. It comes to the point that Vale joins a drummers circle and for the first time in years begins to reconnect with the world around him.
Things take a turn for the worse when Tarek is arrested and thrown into a detention centre for illegal immigrants. As Vale hires a lawyer to help Tarek, he starts to navigate a world he had never expected to encounter, or even given much thought to. Tareks mother arrives in the picture unexpectedly, looking for her son- and soon a friendship of quiet domesticity and real affection blossoms between the two.
What is evident in the spirit of the film, and one that applies to the diversity issue in present discourse is the opposition between bureaucracy and humanism. Laws and statues are cold, and applied without any form of compassion or inquiry about the human it is being enforced upon. By bringing to us a picture from the other point of view, of the subaltern whose voice is nowhere to be found, we find that it is impossible to turn a blind eye to the system, which in the case of immigration laws, especially, is insensitive and unflinching, a perversion of ideals that claim to serve humanity, and uphold the value of life before everyone else. Which is of course where the debate regarding the diversity issue comes in. Does race, colour, ethnicity or rationality decide which life is to be valued and which is not? Who deserves the help of the system and who should be turned away?
The diversity issue is not something that can just be construed as a morality lesson in a film- it exists today in society, in what can be termed first world countries, ...Show more