Jessica Kiang Whenever we see them, the seven contested children at the heart of Gorki Glaser-Müller’s taut, highly emotive “Children of the Enemy” have their eyes blurred over, to help protect their identities.
It’s a strangely reassuring element in a film that at certain moments may be watched through nail-bitten fingers: If the seven grandkids of Patricio Galvez, the tenacious Chilean-Swedish musician fighting to get them out of Syria, need such protections, it must mean that they are still alive — an assumption anything but guaranteed by their pitiably malnourished state and the precariousness of life in the notorious Al-Hol detention camp where they are being kept.They are the orphaned daughters and sons of Patricio’s daughter Amanda,.
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