Aisha Review

Bleak realism is at the core of Aisha, a film as relevant as there ever was. Key to this Frank Berry-directed piece is the information and research done before, to form the foundation of a concerned look at immigration and the difficulties of a particularly poor, almost intentionally confusing system. Governance never had it so bad. Fundamentally Aisha is about that lack of emotion, clarity or lenience in systems allegedly made to help those transition from one country to another. That could not be further from the truth, as Berry and leading star Letitia Wright understand and explain throughout this feature that does well to show the power trips of those in charge. That can be expanded on to just about any facet of the poorly run forms of this or that country, but Ireland is the setting for Aisha, and it does nothing with that beyond accent.

Static interpretations of good and bad bureaucracy are showcased with absolute, binary simplicity, and it does more harm than good. Aisha stumbles in its social commentary not because the message is fumbled but because those surrounding Aisha Osagie (Wright) are not quite formed. It is Wright herself and the few interactions she has with her mother that form not just the emotional core but the most articulate part of the piece. That understanding of isolation around others, the missing link between home and comfort. Aisha does well to understand that through the simple chat that comes with them and the focus of Berry’s direction in those moments, the establishing shots let the tears of the emotionally responsive roll down.

Lack of humanity is confused for doing the job, and the only way to really mould those two together on camera is to show violence as the propagator. It comes down to the research and actions of Berry and company, whose work here showcases fleeting moments of violence and cowardice on behalf of the Garda and those in power, that resentment and lack of trust. These are integral moments, as is the meet-cute-like approach of Conor Healy (Josh O’Connor) to Aisha. Berry works hard to make sure these intimate camera moments provide character and clarity, but there is a bit of dependence on the obvious running of such a relationship dynamic. Berry does attempt to mask the obvious parade of cold animosity to emotional dependence by showing the literal distance and cultural differences between the pair, but it feels a little underbaked.

Whether Aisha is doomed to be shown in classrooms across the country as Bend it Like Beckham and Bruce Almighty were all those years ago is irrelevant, although the likely fate that lies ahead. Berry focuses in on the downright cruel experiences, the lack of understanding, and the squashing of individual character in the face of conformity through fear. Well-layered moments are frequent and it is no surprise Wright is at the heart of all of them. Whether Aisha opens the eyes of the blinkered or not, it is a very solid drama that showcases the cold bureaucracy, albeit through some almost comical moments played up to make sure the point really hits home. That it does, if the importance of Aisha is presentation of a message then it succeeds, and it pulls along with it a solid if simple story.