One of the rare neural abnormalities is face blindness, a condition that two doctors explore in their film Carlotta’s Face. The first time directors use 2D animation to capture their titular patient’s isolation. It’s simple yet effective.

Moving on, the directors Sidse Thorstholm Larsen and Sturla Pilksog of Winter’s Yearning go to Maniitsoq, Greenland, which has been waiting for an aluminum company, Alcoa, to build a plant there. Specifically, they look at three of Manitsoq’s citizens. The first is Gideon Lyberth, who does community outreach. The second is Kirsten Petersen, a factory worker. The third is Peter Olsen, who works for Alcoa. The film doesn’t just aim to be eye opening at the groupthink here.

For one, this is an Indigenous community that actually wants industry to come in. Two, there’s this weird phenomena where a whole community waits for Godot. Three, just like most rural areas, alcoholism is rampant in Maniitsoq. Or that’s the impression we get from the way Gideon discusses his past. Sure, there’s something respectful here about telling and not showing, which seems to be the approach of fictional films. But that issue feels more like a talking point instead of something more real.

The film takes a similar approach when Kirsten talks about her issues, especially with her family. Again, it’s understandable that confidentiality is an issue or that some people don’t want to sign waivers. But everything here feels second hand. The viewers only know about Kirsten’s family and how they’re quitting drinking together through her. The revelations here come from either dialogue or narration, which come with visuals of them in the sauna or working out. It’s nice that the subjects here have access to self care. But there’s got to be a better way to tell these people’s truths with visuals.