One image may go unnoticed in this beautiful and sensitive portrait of a young Ghanan refugee trapped in Israel in search of a better life. It is the subtext of a frightening reality. The image appears several times during when Johnny makes his way to a fish farm to learn the techniques of farming fish. As he drives he has put on a Yamaka (a small cap worn by Jewish people) - but he is not doing so because he is Jewish, rather it is a disguise. The police will think he is an Ethiopian Jew and he will not get pulled off on the highway and deported. Johnny fears he will get caught by the authorities before he can learn a technique he believes will bring him back to Africa to a life he wants to lead. Generous people come his way, believing in his plight, and in his dreams. He wants to make a life for himself in Ghana. As he is caught in Israel supporting his family, having kids, all he wants is to return. Along the way he forms meaningful connections, even though they are based on a dramatic social imbalance. Unlike Johny, his wife Thérèse, sees little hope back home. She is determined to create the best possible future for their children, whatever the price may be. Filmmaker Emmanuelle Mayer follows Johnny and his family for ten years and captures the plight and the tensions. The sensitive portrait is full of nuance and care, the intimacy and trust created between her and her characters shows in every scene.

As an extremist right wing government is elected in Israel, where anti immigrant policies and brutal racism have penetrated the mainstream discourse, the image of Johnny driving to fulfill his dream disguised as a religious Jew is haunting and terrifying. Seeing this film, it comes as no surprise.

Danae Elon
Filmmaker

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