The Empathy Deficit: Can a Film Revive Compassion for Refugees?

The opening film at this year’s Locarno Festival, Les Yeux Verts (The Green Eyes), tells the story of Chaya, an 11-year-old refugee child living in France. As the movie explores the complexities of “resignation syndrome,” a rare condition where traumatized children fall into a coma-like state, it raises essential questions about empathy and compassion.

In recent years, migration policies have prioritized efficiency over humanity, making films like The Green Eyes more crucial than ever. By putting a child at the center of the narrative, Liatard and Trouilh aim to revive empathy for those who have been dehumanized by their portrayal in media. This approach echoes the works of filmmakers like Jeff Nichols (Mud) and Hirokazu Kore-eda (Nobody Knows), who have used children’s perspectives to explore the complexities of adulthood.

The film’s setting, a small village on the French coast, is as much a character as the protagonists. The cinematographer, Victor Seguin, captures the harsh beauty of this environment, where forests are ablaze and the ocean looms large. This serves as a poignant reminder that even in areas of natural splendor, humanity’s actions can have devastating consequences.

Liatard and Trouilh were inspired by their research into resignation syndrome after interviewing a child who had woken up from his long sleep. The boy described being trapped in a glass cage at the bottom of the ocean, where even the slightest movement could shatter it, as both haunting and thought-provoking.

The Green Eyes features a talented ensemble cast, including Sayyid El Alami, Anamaria Vartolomei, and Douae Butarbuch M’Zaouki in the lead role of Chaya. The directors have spoken highly of their discovery process, praising Douae’s charisma and presence on screen.

However, it is essential to consider the context in which this film is being released. As the world grapples with its response to migration, politicians often rely on emotive language to justify policies that prioritize security over compassion. The Green Eyes offers a powerful counterpoint to these narratives, reminding audiences of the human cost of xenophobia and indifference.

Liatard and Trouilh’s goal is clear: they want viewers to feel empathy for those who have been displaced by war or persecution. By putting themselves in Chaya’s shoes, audiences can begin to understand the trauma and resilience of refugee children. This requires a willingness to confront one’s own biases and assumptions.

As we watch The Green Eyes, we are reminded of the power of storytelling to shape our perceptions of the world. By exploring the complexities of resignation syndrome through Chaya’s eyes, Liatard and Trouilh challenge us to reevaluate our relationship with refugees and migrants. This is a timely reminder that empathy is not a fixed trait but rather a skill that can be developed and strengthened.

Ultimately, The Green Eyes poses an important question: what does it mean to truly see another human being? Can we look beyond the headlines and dehumanizing rhetoric to connect with those who have been forced to flee their homes? This film offers no easy answers, only a poignant reminder of the importance of compassion in our shared humanity.

As we leave the Piazza Grande after watching The Green Eyes, the impact of this film on its audience is uncertain. Will it spark a renewed sense of empathy for refugees and migrants? Only time will tell, but one thing is clear: Les Yeux Verts has opened a much-needed conversation about the importance of compassion in our world.