http://www.imdb.com/title/tt1176942/
Plot & Summary
Return to Hansala is an intelligent and sensitive movie. A work of fiction, it began with a brutal fact from modern life: in 2001, the bodies of 37 Moroccan immigrants, economic refugees, washed up on the shore near the Spanish town of Rosa. Their inflatable dinghy had capsized. Thirteen of the victims came from one town, Hansala.
Thousands of desperate Africans attempt to reach Spain every year by sea. And many perish in the attempt, victims of the European Union’s brutal immigration policies. Gutiérrez’s film centers on two figures: Martin (José Luis García Pérez), the funeral parlor director, whom the police contact when a number of corpses are discovered, and Leila (Farah Hamed), the legally documented sister of one of the drowned young men. She feels a particular guilt because she encouraged her brother to make the hazardous crossing to Spain, against the wishes of her father. Despite the considerable cost, Leila determines to return her brother’s body back to Morocco, availing herself of Martin’s professional services. They also bring back the clothing of the other dead, to see if they can be identified.
During their trip they talk. “Do you like your job?” she asks, somewhat wonderingly. “It’s what I know. I’m my own boss. Answering to no one is good,” he says, perhaps fooling himself. In fact, his business is in trouble, and he has to answer to his creditors. She puts in, “Our only option is to move to another country.” They overcome Moroccan red tape, carjackers and other difficulties en route to the remote village. The villagers in Hansala receive Martin with generosity—“Thank you for bringing our son home.” To pay him, each of the elders’ families must collect 125 euros, an immense sum. “We help each other here.” Leila attempts to reconcile with her father. “I’m a good Muslim woman and I work hard.” He is unrelenting. Another youth, Said, wants to emigrate to Spain. In this village, there is “no electricity, no water, no money...no dreams.”
Martin is the most interesting figure in the film, the European audience’s point of entry, in any case. He’s not a monster, but he needs to be paid. Leila doesn’t blame him—“Everybody has to make money.” He’s like most people, capable of shortcuts and deceit, but also goodhearted under the right conditions. If he ever was simply an exploiter of other people’s misery, as Leila says in an angry moment early in the film, he’s not by the story’s end. There is something here, an argument for compassion, an indictment of the cruelty and indifference of governments. (wsws.org)
Rating
6/10 (99 votes)
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